Welcome to New York

This film has many different rhythms and paces. At first the prolonged sex scenes last so long that they became uncomfortable and disturbing.Although the sex with the prostitutes was consensual Depardieux grunted in almost pig like fashion as he lost himself in debauchery and lust. It had the feel of a porn film but with believable characters. The scenes with Depardieux and Bissett often have the feel of improvisation particularly at the beginning. It would have been nice to have seen more of the victims reactions to the abuse that they were subjected too. The unrepentant nature of the lead character is alarming and brutally honest.He does not seek to be cured even after his arrest makes his life fall apart. He shows no feeling for his victims and just is a serial abuser. His blunt attempts at seduction is seen to be successful in one instance due to his wealth and status and overt womanising. Like Bad Lieutenant this film delivers moments of brutality and spiritual abandon. In both films the central characters are spiralling out of control. The Gauguin nudes on the walls of the apartment are well placed. In all despite the lengthy sex scenes and drawn out almost real time arrest the film is well constructed and well acted. The surreal almost "bad actor" dialogues between Bissett and Depardieux as they confront the aftermath of his arrest fluctuates between the inane and the poetic. I really liked the line that,"The reverse of Love is not hate but indifference" delivered by Bissett. The fact that this film is based on true events adds weight to the subject matter. A difficult film to watch and an adult film on more than one level.

okay, this movie is not very "deep", its more like a real-time documentation of some real life facts/conditions.. so, for about 20-30min its really a "Welcome to New York" with all its special realities.. i was constantly wondering during the movie, what the deeper thoughts of Abel Ferrara and Depardieu & Bisset were to make this half-documentary.. Abel Ferrara made such great films like "Bad Lieutenant" (as you surely know)->what does he (and Depardieu & Bisset) wants to tell us with that ? i guess almost nothing->for me it culminates in a superb acting scene with Bisset and Depardieu at the end.. its a "homage" to two great actors: Bisset & Depardieu.. thats all,thats it..if you are a great Bisset&Depardieu+Movie-Fan, you will like it->great acting !! (PS.appendix: after watching it by chance for a second time in an "Uncut"- Version, its also mainly a "blaming the capitalism", was ,but not so, clear before in the "cutted"-version..)

This film tells the story of a powerful French man in the field of economics, who is addicted to sex. He runs into trouble when he is accused of raping a hotel maid in New York.

I think the problem about "Welcome to New York" is that everyone knows the whole plot already before watching the film, so it is a challenge to keep viewers interested and surprised. Having extended sex scenes one after another may superficially do the trick, but ultimately I find "Welcome to New York" lacking in real substance. The wife, Simone, is likable and gives convincing displays of emotions. I am sympathetic towards her character. The main character, Devereaux, on the other hand, lacks that certain spark. I guess it is because his character is so egocentric and pathological that he does not show much emotions. He only sweet talk to ladies, yet he is not shown to be able to do much else. The filmmakers could have made it interesting by throwing in more courtroom drama, or more public outcry. There are loads of missed opportunities with the film to deliver a gripping and sensational story.

What is this piece of work? An auteur film? A low-budged shock movie like "La Grande Bouffe" or "Baise-moi"? A porno? Whatever the case, this catastrophic film makes you wonder whether Abel Ferrara has really been directing movies for 40 years. Inconsistent characters, uneven editing and dialogue lines that are laughable at best and disturbingly weak at worst make this this movie a really painful experience, like a great romantic Austrian orchestral piece performed out of tune all the way through. The exhaustingly long and slow vampire of a film that is Welcome to New York begs the questions: has the production been rushed for some troubled reason(s)? is that why it backfires on all technical levels? did they use rehearsal footage? is that why the acting is so all over the place? There are, however, a few interesting moments here and there in the film: Depardieu's monologue towards the end of the film, the lighting reflected on Jacqueline Bisset during a quarrel in the couple's home cinema. They're only details, unfortunately, and they're not powerful enough to save the film from drowning. Abel Ferrara proves that being a "unique" artist doesn't make you a "competent" one and, most of all, that you can't always blame gaucherie on art.

I was pleased when this film became available on Netflix and then on DVD, because I am an unconditional fan of Gérard Depardieu even though he is no longer the healthy-looking star he used to be, and also because I was convinced from day one that DSK had fallen into a trap set by his political enemies. Only two people know exactly what happened that day in his hotel room, so this is indeed a fictional version, but when Depardieu's character tells his wife that he is not guilty as accused, I for one believe him. It's watchable, and almost philosophical when he talks to his very rich wife about the sharing of wealth. And if anyone is disappointed by Depardieu's performance in this movie, I recommend director Jean Becker's delightful film "La Tête en friche" (My Afternoons with Margueritte) in which Depardieu is brilliant. Jacqueline Bisset's performance here is remarkable too.