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New York, New York (1977)

 -  Drama | Music | Musical  -  21 June 1977 (USA)
6.7
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Ratings: 6.7/10 from 10,811 users  
Reviews: 66 user | 50 critic

An egotistical saxophone player and a young singer meet on V-J Day and embark upon a strained and rocky romance, even as their careers begin a long uphill climb.

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(screenplay), (screenplay), 1 more credit »
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Title: New York, New York (1977)

New York, New York (1977) on IMDb 6.7/10

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Nominated for 4 Golden Globes. Another 2 wins & 2 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
...
Tony Harwell
Barry Primus ...
Paul Wilson
...
Bernice Bennett
Georgie Auld ...
Frankie Harte
George Memmoli ...
Nicky
...
Palm Club Owner
Murray Moston ...
Horace Morris
Lenny Gaines ...
Artie Kirks
...
Cecil Powell
Kathi McGinnis ...
Ellen Flannery
Norman Palmer ...
Desk Clerk
Adam David Winkler ...
Jimmy Doyle Jr.
...
Desk Clerk
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Storyline

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

Plot Keywords:

singer | musician | love | trumpet | orchestra | See more »

Taglines:

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

Genres:

Drama | Music | Musical

Certificate:

PG | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

21 June 1977 (USA)  »

Also Known As:

New York, New York  »

Box Office

Budget:

$14,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

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

Sound Mix:

Color:

(Technicolor)

Aspect Ratio:

1.66 : 1
See  »
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Did You Know?

Trivia

Although Robert De Niro did learn the basic technique of how to play the saxophone, the sax music on the soundtrack was dubbed in by cast member Georgie Auld. This movie introduces the song "New York, New York" that later became a pop music standard. See more »

Goofs

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 »

Quotes

Jimmy: You're an agent?
Tony Harwell: I reiterate, yes.
Jimmy: If I went down there, would you be my agent?
Tony Harwell: No.
Tony Harwell: Why not?
Tony Harwell: I ain't interested. I'm satisfied with the list of clients I got now.
Jimmy: You're makin' a mistake, but okay, you know.
Tony Harwell: I made a lot of mistakes. So I'll make another one. This one's on me.
See more »

Connections

Featured in Marty & Bobby (2011) See more »

Soundtracks

Once in a While
(uncredited)
Music by Michael Edwards
Lyrics by Bud Green
Performed by Liza Minnelli
See more »

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User Reviews

Tinseltown
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
Ending prideandpredj
because someone has to admit it... AndiePandie11
The Happy Endings sequence ruined the flow of the movie... jamia2283
Scorsese on drugs? NeilMcCauley
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