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Liza Minnelli, Robert De Niro, Lionel Stander, Barry Primus, Mary Kay Place ... see more see more... , Georgie Auld , George Memmoli , Diahnne Abbott , Selma Archerd , Bill Baldwin , Nicky Blair , Timothy Blake , Robert Buckingham , Don Calfa , Gene Castle , Betty Cole , DeForest Covan , Jon Cutler , Shera Danese , Peter Fain , Joey Forman , Leonard Gaines , Louis Guss , Casey Kasem , Bernie Kuby , Mary Lindsay Chapman , Dimitri Logothetis , Mardik Martin , Kathi McGinnis , Dick Miller , Murray Moston , Harry Northrup , Norman Palmer , Steven Prince , Richard Raymond , Hank Robinson , Jay Salerno , Roosevelt Smith , Leslie Summers , Charles Tamburro , William Tole , Adam David Winkler , Margo Winkler , Clarence Clemons , Eddie Smith , Marty Zagon , Sydney Guilaroff , Peter Savage , Allison Caine , Dave Nichols , Frank Sivero

Martin Scorsese combined the splashy atmosphere of the old studio musical with an unromanticized marriage story in his valentine to Hollywood and the Big Band era. On V-J Day 1945, newly minted civili... read more read more...an saxophonist Jimmy Doyle (Robert De Niro) meets USO singer Francine Evans (Liza Minnelli) at a dance, but she rebuffs every advance that he makes. A day and a hotel lobby meeting later, Jimmy finally wins Francine over after she uses her pop instincts to save his too-jazzy audition at a nightclub. When she goes on tour with Frankie Harte (Georgie Auld) and his Orchestra, Jimmy tracks her down, taking a job with the orchestra to be with her. Together on stage, they make beautiful music; off stage they marry, but the struggle between two artists begins to take its toll. Unable to understand that Francine's needs and talents are just as important as his, and unwilling to compromise his music for security, Jimmy abandons Francine after their baby is born. Separately, the two succeed even more, as Francine becomes a music and movie star, while Jimmy has a top hit and opens a jazz club. When they are reunited several years later, the pair must decide if their relationship is worth another try. ~ Lucia Bozzola, Rovi

Flixster Users

59% liked it

8,918 ratings

Critics

67% liked it

30 critics

PG, 2 hr. 33 min.

Directed by: Martin Scorsese

Release Date: June 22, 1977

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DVD Release Date: February 8, 2005

Stats: 414 reviews

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Flixster Reviews (414)

  • dunmyer
    May 27, 2012
    dunmyer
    Did you know that the song "New York, New York," which Frank Sinatra made so famous, was originally written for the 1977 Martin Scorsese film of the same name and first performed in that film? I can't believe it, but I didn't know that. I thought it was a song from the 1940s orig... read moreinally recorded by Sinatra.

    The song was written by the legendary Broadway team of John Kander and Fred Ebb specifically for Scorsese's film and first sung by Liza Minnelli, who starred in the film opposite Robert de Niro.

    It's good to get that history finally straight. Now for the movie. It's known as Scorsese's only bomb, with the famous theme song its only redeeming quality. I wouldn't go quite that far. There are things about the film that I find wonderful. But overall, it is a failure.

    I love what Scorsese tried to do. Fresh from his triumph with "Taxi Driver" (1975), Scorsese could easily have gone on auto-pilot, churning out another gritty, masculine, urban neo-noir. Instead he did the complete opposite. He follows "Taxi Driver" up with a musical! My God, that is gutsy.

    I admire the cojones but not the final product. Scorsese stumbled awkwardly through the whole film; almost every scene has a false tone. The editing is atrocious, with every scene twice as long as it should be. The sets are so cheap and fake that at one point Minnelli virtually rips a railing apart with her bare hands. And they didn't cut out that scene!

    Scorsese surely chose the cheesy sets intentionally. I think he was trying to pay homage to the movies of the 1940s, particularly the female-driven melodramas (so-called "women's pictures"), which were always filmed on cheap Hollywood backlots. I absolutely love this idea. But it just does not come off well. The only way this could have worked is if the melodrama had been so captivating that it transported you back to the first time you saw "Mildred Pierce." (I can still remember seeing it for the first time on television as a teenager. Unforgettable.)

    But Scorsese really fell down on the job when it comes to story development -- always a disaster when you're trying to do melodrama. I really never cared about either of the two main characters. So rather than getting swept up by emotion, I found myself limply watching actors pretend to have feelings. It's actually hard to get through this movie. Its running time is also particularly long.

    It was a courageously un-hip and un-masculine tribute to old movies, but it just doesn't come together. Save for the title song, which is an old-fashioned masterpiece, "New York, New York" is a misfire.
  • cosmo313
    December 4, 2011
    cosmo313
    This is a Scorsese film that typically gets overlooked, and, while I can see why (to a degree), I think it's actually pretty good, and probably one of his most underrated- and that last little bit is something that needs to change.

    The film was a departure and an experiment for... read more Marty. It was his follow-up to Taxi Driver, and needless to say, this didn't make the impression left by that one. For this, Scorsese decided to abandon the gritty realism of his previous works and craft a loveletter to his city, big band (and some jazz) music, and the lavishly produced movie musicals of Old Hollywood. It was a noble effort, and no one can deny the fact that this is made with tons of love, care, and respect.

    The film follows a go-getter sax player named Jimmy Doyle who's got talent, but can also be overwhelmingly obnoxious, stubborn, and hard to deal with. He meets a low level club singer with big hopes and the two form a perfonal and professional relationship with one another. Over time though, the pressure of show biz see the fall of their love as their careers rise.

    In order to bring his vision to life, Scorsese and his director of photography Laszlo Kovacs and production designer Boris Levin used intentionally artificial looking sets and specific lighting to recall the old days of studio musicals, with a touch of film noirish qualities thrown in for good measure. The result is gorgeous and one of the best made homages out there. (I'd say it's up there with Ed Wood and Black Dynamite in this regard).

    Like most Scorsese efforts, it's more of a character driven piece than a plot driven one, and that's fine, but even then, I really noticed just how light this film is on substance, and, for that matter, characters who truly come to life that you can care about. All other aspects of the film help to cover this up, but there's no denying that most of the film feels like it's on auto pilot.

    Still though, I can't hate this one too much. The performances are absolutely terrific, and this made me actually be interested in Liza Minnelli and the talent she has. De Niro of course not surprisingly delivers another solid performance. In fact, the first oh, 40 mins or so, were absolutely 100% brilliant. I was beginning to think that this was a great overlooked true masterpiece. Seeing De Niro slink around trying to pick up women is simultaneously hilarious, awkward, and annoying, but totally excellent. If only the rest of the movie maintained that same level of energy, fun, and focus throughout its 163 minute run time instead of gradually falling back and becoming a rambling drawn out procedure could it be called a great piece of work. I didn't quite get bored, but I started to get antsy and wonder what the point was.

    All in all, this is a pretty good movie. It is flawed yes, but in the context of when it came out and what the intentions were, it's wrong to ignore this. Come to it with an open mind, and give it a chance.
  • emilebond007
    August 12, 2011
    emilebond007
    A Scorsese masterpiece that happens to be forgotten, unfortunately. If this film had been released in the '50s and hadn't that usual Scorsese brutality to it, it would have been considered among the greatest classics. But then again, I loved the gritty yet beautiful touch from ma... read morester Martin Scorsese he brought to this classy musical and I don't mind the time this was released for I watched it more than thirty years later. So for me, this is a masterpiece.
  • SajinPA
    May 15, 2011
    SajinPA
    Not just that the film is boring enough, but the fact that you've got to endure almost a smidge under 3 hrs. to finally get through to the ending, simply makes this one of the most painful movie experience I've ever had. Even De Niro's energy and his trademark manic intensity can... read moret help to push the film forward any faster.
  • sanjurosamurai
    April 19, 2010
    sanjurosamurai
    not a bad film, but a surprisingly average film considering that it was scorsese's follow up to taxi driver. the music was pretty solid but at 2 hrs and 45 min i was surprised at how hollow and underdeveloped the story was. the old hollywood feel was accomplished through painte... read mored backdrops, but the dialogue was a bit too current to the 70's and i think minnelli was a poor choice for her role.
  • kenstachnik
    March 23, 2008
    kenstachnik
    This unappreciated gem from Scorsese's early period if a fascinating blend of Cassevetes like improvisational realism and MGM style musicals.

    A little long in places but the music and performances more than make up it.
  • puffchunk
    October 25, 2007
    puffchunk
    Blah.
  • rayman0071
    October 2, 2007
    rayman0071
    Martin Scorsese's only attempt at doing a movie musical with the teaming of Robert De Niro and the legendary Liza Minnelli.
  • tsigur
    July 26, 2007
    tsigur
    I really like the last half of this movie.
  • fb20312798
    September 1, 2007
    fb20312798
    A great musical from Martin Scorsese. I like how the film looks and feels like a 1940s musical but what happens to the characters and their love story is completely realistic, unlike the 1940s musicals.

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Critic Reviews

Christopher Porterfield
January 26, 2010
Christopher Porterfield, TIME Magazine

If this movie were a big-band arrangement, it would be a duet for a sax man and a girl singer, but with the soloists in a different key from the band. Full Review

Variety Staff
March 26, 2009
Variety Staff, Variety

In a final burst from Old Hollywood, Minnelli tears into the title song and it's a wowser. Full Review

Vincent Canby
May 9, 2005
Vincent Canby, New York Times

Why should a man of Mr. Scorsese's talent be giving us what amounts to no more than a film buff's essay on a pop-film form that was never, at any point in film history, of the first freshness? Full Review

Roger Ebert
October 23, 2004
Roger Ebert, Chicago Sun-Times

Martin Scorsese's New York, New York never pulls itself together into a coherent whole, but if we forgive the movie its confusions we're left with a good time. Full Review

Dave Kehr
January 1, 2000
Dave Kehr, Chicago Reader

Martin Scorsese created a very handsome and dynamic film, but the spectacular set pieces don't add up to much. Full Review

Emanuel Levy
March 6, 2012
Emanuel Levy, EmanuelLevy.Com

Though affectionate and colorfully stylized, Scorsese's tribute to the darker classic Hollywood musicals is only partially successful. Full Review

Peter Canavese
June 24, 2011
Peter Canavese, Groucho Reviews

Ultimately a very personal film about how Scorsese views a genre of film and, as such, has a much more coherent vision than its reputation would suggest. [Blu-ray] Full Review

Brian Orndorf
June 24, 2011
Brian Orndorf, BrianOrndorf.com

A stagebound valentine, but one vigorously constructed down to the last detail, with Scorsese reveling in the costumes and music. It's an itch that spreads into a full-body rash in the final act. Full Review

Dan Callahan
June 16, 2011
Dan Callahan, House Next Door

A downbeat homage to bright-lights showbiz dramas, an epic orchestration that indulges in stubbornly obsessive riffs, Martin Scorsese's New York, New York (1977) seems to value awkwardness and indecis... Full Review

Pablo Villaca
January 27, 2010
Pablo Villaca, Cinema em Cena

Embora interessante, a direção de arte acaba se tornando uma distração e os números musicais são, em sua maioria, frouxos. Por outro lado, De Niro e Minnelli criam personagens complexos que despertam ...

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