Affectionate portrait of Tim "Speed" Levitch, a tour guide for Manhattan's Gray Line double-decker buses. He talks fast, is in love with the city, and dispenses historical facts, ...
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Affectionate portrait of Tim "Speed" Levitch, a tour guide for Manhattan's Gray Line double-decker buses. He talks fast, is in love with the city, and dispenses historical facts, architectural analysis, and philosophical musings in equal measures. He's reflective and funny about cruising: he loves it, got in it to meet women, and he'd quit work if he could. His personal life is disclosed in small doses: he takes home $200 a week for 20 hours work, home is his suitcase and wherever he can flop, he's been arrested for going out on the roof tops of skyscrapers to see his city; he stands between the towers of the World Trade Center, spins until he's dizzy, then looks up. Written by
Timothy 'Speed' Levitch:
The anti-cruise is an attempt to imprison us. At every level of living it exists. Younger cruisers have asked me, "Why?" "Why is the anti-cruise so avaricious and constant in its attempt to stop the cruise? And I have no answer. There is no answer. I mean, it's gravitational, it's a relationship that's made up of reciprocals and pulling gravities. It simply exists. Where there is cruise there is an escort of anti-cruise. But even in a bastion of anti-cruise fodder... there is cruise. Somewhere ...
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I really well spoken film. To think that the point of this film is that the world sucks is to completely miss the point. This is a celebration of New York city. A celebration of civilization. Yes, there are rants that seem pessimistic yet remain intelligent. "Speed" is poetic. Cinematography requires more for a city with such aesthetic qualities in its landscapes and architecture. At the same time, Speed's vocals make up for anything the camera loses and/or misses. I suppose this movie is more about Speed's interpretations and the way He sees New York than how it could be seen through a lens. It's his lens that we are permitted to see through.
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