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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 11,060 users  
Reviews: 67 user | 51 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)

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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
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
Edit

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

Taglines:

The war was over and the world was falling in love again. 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:

Nea Yorki, Nea Yorki  »

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  »
Edit

Did You Know?

Trivia

Originally four and a half hours long. Director Martin Scorsese cut it to 153 minutes, then to 136 minutes. In 1981 some material (mainly the 'Happy Endings' sequence) was restored and the film became 163 minutes long. 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: Where is she?
Tony Harwell: Why should I tell you where she is if she doesn't tell you where she is in the letter?
Jimmy: Then why do you take the time to come out to Brooklyn to give me this letter if you don't think she cares enough about me to let me know where she is, or to let you know to let me know where she is? Doesn't that makes sense to you?
Tony Harwell: It should, but it don't.
See more »

Connections

Featured in 20 to 1: Party Songs (2007) See more »

Soundtracks

Billets doux
Performed by The Hot Club of France Quintet
Provided through the courtesy of the Decca Record Co., Ltd.
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
because someone has to admit it... AndiePandie11
Just seen the film.. Usarajevo879303
Ending prideandpredj
The Happy Endings sequence ruined the flow of the movie... jamia2283
Scorsese on drugs? NeilMcCauley
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