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New York, New York (1977)

PG | | Drama, Music, Musical | 21 June 1977 (USA)
An egotistical saxophonist and a young singer meet on V-J Day and embark upon a strained and rocky romance, even as their careers begin a long, up-hill climb.



(screenplay), (screenplay) | 1 more credit »

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Nominated for 4 Golden Globes. Another 2 wins & 2 nominations. See more awards »
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Cast overview, first billed only:
Tony Harwell
Paul Wilson
Bernice Bennett
Georgie Auld ...
Frankie Harte
George Memmoli ...
Palm Club Owner
Murray Moston ...
Horace Morris
Leonard Gaines ...
Artie Kirks (as Lenny Gaines)
Cecil Powell
Kathi McGinnis ...
Ellen Flannery
Norman Palmer ...
Desk Clerk
Adam David Winkler ...
Jimmy Doyle Jr.
Desk Clerk


The day WWII ends, Jimmy, a selfish and smooth-talking musician, meets Francine, a lounge singer. From that moment on, their relationship grows into love as they struggle with their careers and aim for the top. Written by Steve Richer <sricher@sympatico.ca>

Plot Summary | Add Synopsis


A love story is like a song. It's beautiful while it lasts. See more »


Drama | Music | Musical


PG | See all certifications »

Parents Guide:





Release Date:

21 June 1977 (USA)  »

Also Known As:

Nea Yorki, Nea Yorki  »

Box Office


$14,000,000 (estimated)

Company Credits

Show detailed on  »

Technical Specs


| (1981 re-issue) | (re-cut)

Sound Mix:



Aspect Ratio:

1.66 : 1
See  »

Did You Know?


Hollywood producer Julia Phillips has a silent bit part in the opening sequence, flirting with Robert De Niro in a nightclub. When the scene was finished she asked to keep her costume, (a black evening gown), and was put out when Scorsese made her write a check for it. See more »


During the VJ dance sequence when Jimmy (DeNiro) is initially trying to pick up Francine (Minnelli), the cherry in her drink disappears (when she eats it in one shot) but then reappears in her drink only to disappear in subsequent shots. See more »


Jimmy: Let me ask you something. You got any other advice for me?
Tony Harwell: Yes. Stay off the junk, and you'll go far.
Jimmy: Fine. Thanks a lot. Swell of you to say that.
See more »


References The Clock (1945) See more »


The Man I Love
Music by George Gershwin
Lyrics by Ira Gershwin
Performed by Liza Minnelli with Georgie Auld
See more »

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User Reviews

26 February 2001 | by (new york) – See all my reviews

New York, New York is Scorcese's most underrated film. Ahead of its time, out of the mainstream of mundane tastes, and both a tribute and a criticism of the musicals of the 40s and 50s, New York, New York is constantly misunderstood - especially by a culture weened on Rambos and Die Hards. DeNiro is a misogynist; Minnelli, a codependent. The characters are not necessarily supposed to be likeable or easily understood. They are consciously not written to be cozy, comfey typical boy-meets-girl characters. Like any couple caught in the disease of romantic addiction and career obsession, Jimmy Doyle (DeNiro) and Francine Evans (Minnelli) depict flaws that approach hyper-visibility within the context of fake scenery, big brassy musical numbers, a slow pace, and sparse dialogue. It's not that there isn't any normative plot; there just doesn't NEED to be one. Through its minimalism, NY, NY breaks boundaries for musicals in the way that Ingmar Berman films broke ground for European movies. In the 70s, people were tired of musicals and Star Wars had been released. Out with the "old," in with the new. NY, NY only LOOKED like the old movies that modern culture was trying to get away from. Had people looked at it as parody (a trend that was to consume 80s cinema), NYNY would have been seen through a truer lens. DeNiro is tempermental, insensitive, and bombastic. Minnelli is shy and patient. DeNiro is jealous and insecure. Minnelli is focused and self-assured. Minnelli, in fact, not only evokes the period, she IS the period. Her doe-shaped eyes are not lost behind her extravagant custumes, and Minnelli's voice is the best of her career, displaying everything from subtlety (in songs like "You are my Lucky Star," and "There Goes the Ball Game") to power and emotion (in "But the World Goes 'Round," and "The Man I Love"). Minnelli's classic rendition of the title song is a show stopper, coming on the heals of a 15-minute production number entitled "Happy Endings" that takes the film into a three-dimensional surreality, for within "Happy Endings" (the movie within the movie) is a ANOTHER movie called "Aces High," where a sequined Liza combines the personas of Marilyn Monroe and Jane Russel into a single glamorous diva. The film's downbeat ending is actually a sign of strength for the Minnelli character, and DeNiro's Doyle is left alone to ponder the love he left behind.

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Anybody else feel...just mixed about it? tarantinolover12
Just seen the film.. Usarajevo879303
because someone has to admit it... AndiePandie11
Ending prideandpredj
Scorsese on drugs? NeilMcCauley
The Happy Endings sequence ruined the flow of the movie... jamia2283
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