New York, New York (1977): Scorsese Flawed Musical, Neither Effective as Homage to Classic Hollywood Nor Satisfying as Modernist Revision, Starring De Niro and Liza Minnelli (Now Mostly Remembered for his Theme Song)

Scorsese’s valentine to the classic Hollywood musical and the Big Band era, New York, New York, is an honorable failure (but failure nonetheless), an incoherent feature that tries to combine elements of the classical genre alongside a a darker, more modern look.

New York, New York
Theatrical release poster

Our Grade: C (*1/2* out of *****)

Obviously enamored with the darker musicals made in Hollywood in the 1940 and 1950s, Scorsese tries but only partially succeeds in mixing the atmosphere of the old studio musical with a chronicle of marriage on the rocks a la Star Is Born.

The narrative, credited to Earl Mac Rauch and Mardik Martin, is set on V-J Day 1945, when the newly civilian saxophonist Jimmy Doyle (Robert De Niro) meets the USO singer Francine Evans (Liza Minnelli) at a dance. Initially, Francine rebuffs his romantic overtures, but he insists and persists and finally she succumbs to his charm.

Meeting in a hotel lobby a day later, Jimmy finally wins Francine over after she uses her pop instincts to save his audition at a nightclub, which is deemed as “too jazzy.”

When Francine goes on tour with Frankie Harte (Georgie Auld) and his orchestra, Jimmy Taks a job with the band just in order to be with her. Performing together, they make beautiful music.

But their ensuing marriage reveals conflicts between two artists who are equally devoted to their respective careers, but are products of differing personalities and tempers.

Unable to understand that Francine’s needs and talents are just as important as his, and unwilling to compromise his career, Jimmy abandons Francine after their baby is born.

Separately, the two succeed even more, as Francine becomes a musical and movie star, while Jimmy has a top hit and opens a jazz club.

Reunited years later, they have to make fateful decisions about their respective art and relationship.

On one level, “New York, New York” is Scorsese’s homage not just to the Hollywood musical, but also an effort to remake A Star Is Born (made three times, in 1937, 1954, 1976).

You can’t fault the acting of De Niro or Minnelli as the embattled lovers who are constantly struggling with their love and careers.

The visual style of the picture, which was entirely shot on the studio lot, is deliberately artificial and consciously theatrical. The colorful studio sets of the film, most of which takes place indoors, look like painted backgrounds.

The movie is more successful as Scorsese’s personal meditation on the artifice of cinematic space and historical time than as a multi-layered musical, one that is defined by fully-fleshed individuals as realistic characters.

Different Versions: None effective

When initially released, New York, New York had a running time of 155 minutes, but after its failure at the box-office, United Artists cut the film down to 136 minutes.

It was then re-released in 1981 with the deleted scenes restored, including the lengthy musical number “Happy Endings.” The DVD edition is 163 minute long.

Ultimately, New York, New York doesn’t work in any length (running time was never the problem).

The movie is perhaps worth seeing as a footnote in the long and fertile career of Scorsese, who here is attempting to pay tribute and to revisit a cherished genre in an affectionate, nostalgic, glitzy, but also self-indulgent mode.

Cultural Impact

The film’s musical motif, “Theme from New York, New York,” became a success on its own right, when Frank Sinatra recorded a version of it in 1980. Both Sinatra’s and Minnelli’s versions have become intimately connected with New York City. The tune is often used to promote international tourism to the Big Apple. It has also been kept alive by Liza Minnelli’s continuous rendition of the song in all of her concerts, sort of a signature song.

Atfter the success of Taxi Driver, New York New York was a big critical and commercial flop, failing to recoup its production budget.

Cast

Liza Minnelli as Francine Evans
Robert De Niro as Jimmy Doyle
Lionel Stander as Tony Harwell
Barry Primus as Paul Wilson
Mary Kay Place as Bernice Bennett
Frank Sivero as Eddie DiMuzio
Georgie Auld as Frankie Harte
George Memmoli as Nicky
Harry Northup as Alabama
Dick Miller as Palm Club Owner
Clarence Clemons as Cecil Powell
Casey Kasem as DJ aka Midnight Bird
Jack Haley as Master Of Ceremonies
Adam David Winkler as Jimmy Doyle Jr.