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New York New York | 
| Director: Martin Scorsese
Actors: Diahnne Abbott, Selma Archerd, Georgie Auld, Bill Baldwin, Nicky Blair
Studio: MGM
Category: DVD
List Price: CDN$ 15.98
Buy New: CDN$ 7.94
You Save: CDN$ 8.04 (50%)
New (17) Used (3) from CDN$ 7.94
Rating:  10 reviews
Sales Rank: 26542
Format: Ac-3, Dolby, Dubbed, Ntsc, Special Edition, Subtitled, Widescreen
Languages: English (Original Language), English (Subtitled), Spanish (Subtitled), French (Subtitled), Spanish (Dubbed)
Aspect Ratio: 1.66:1
Shipping Weight (lbs): 0.2
Dimensions (in): 7.1 x 5.4 x 0.6
MPN: 027616915115
ISBN: 0792863313
UPC: 027616915115
EAN: 9780792863311
ASIN: B00062IVKI
Theatrical Release Date: June 21, 1977
Release Date: February 8, 2005
Availability: Usually ships within 1 - 2 business days
Shipping: International shipping available
Condition: Brand new Factory Sealed DVDs ***100% GUARANTEED!!!***
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| Editorial Reviews:
From Amazon.co.uk
Martin Scorsese took a daring turn from the mean streets that made his reputation in the early 70s with INew York, New York/I, his homage to the big-band era. And what a homage it is: the dazzling production design by Boris Leven continues to impress over the film's nearly three-hour length. And there's no denying the anthemic appeal of Kander and Ebb's title song, belted with winning bravado by costar Liza Minnelli in a show-stopping finale. But as valiantly as Minnelli and Robert De Niro try, they can't elevate the shaky plot beyond its two-dimensional construct. It purports to be a IStar Is Born/I-like tragedy of colliding careers but too often it feels like inadvertently eavesdropping on a marriage counsellor's most truculent clients. (There are times you want someone--anyone--to slap Minnelli upside the head with a copy of IWomen WhoLove Too Much/I.) The film is for diehard Minnelli (or Scorsese) fans only. I--Anne Hurley/I
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| Customer Reviews: Read 5 more reviews...
 A Great Epic Musical April 20, 2004
C. Bostick (Newport Beach, CA USA)
This movie is a trully underated musical. The poor script and imprudent editing are its only flaws. But the performances, the direction, the story,the costuming, the art direction, cinematography and the music make those flaws virtually unoticable. Im sure if this had been the success it should have been back in 1977, Im sure the film, the art direction, the cinematography, the costuming, Scorcese, and above all else Minelli(who never looked or sounded better)and Deniro would all have gotten Oscar nods. The one that I truly cant beleive is that the title song didnt win the oscar. It has become such a standard it should have one. Overall a great film trully an underated classic.
 Great music but not so deep emotions March 14, 2004
Jacques COULARDEAU (OLLIERGUES France)
Liza Minelli is great in this film that is a manifesto for New York jazz and Broadway musicals. She has a deep and mysterious voice and her songs are highly poetic. Robert de Niro is an aggressive lover and a very self-centered musician, music-doubled by Auld. In fact he looks like a remake of Fred Astaire in his courting techniques, but without the light humorous dimension of Fred and with a deeply egotistic and melo-dramatic dimension. But the film goes beyond this and shows how two artists could work together if they accepted to step beyond the small difficulties of life. Small is a way of speaking since it is a pregnancy that does not come at the right moment, breaking up a band and endangering a career. Robert de Niro just rejects the problem and saves his own career by dumping the wife he had had so much difficulty to conquer. Liza Minelli recaptures her own career after this event with her talent and also with her easy-going friendliness. The film becomes sad and has no Happy Ending because the two hesitate to recapture the past and meet again for reasons that are not really made explicit in the film, but that we can imagine to be the fear to go back to a cannibalistic relation on the side of Liza Minelli and the fear to get penned up into limitations on the side of Robert de Niro, in spite of the attraction his own son exerts on him. This shows how difficult it is for two great artists to live together and to work together, especially when one is tyrannical and the other diplomatic. Napoleon meets Queen Victoria in some way. But the film is too much centered on the music and not explicit enough on the love affair and sentimental experience if not experiment the two go through. It makes it a litle bit cold and unsensitive. We have to imagine too much about the relations between the two. So it makes the film slightly shallow and slow, in a word long.pDr Jacques COULARDEAU
Off-Beat, Sometime Ponderous, and yet Memorable November 20, 2002
Larry Heller (El Sobrante, CA United States)
It is time for "Martin Scorses" to go back to his originalbr4 hour plus of his film "New York, New York". At Times it brmoves slowly, and needs editing, other times the film isbrdeliberately slow, and then there are the scenes in thebrsecond half that are so legendary, that they are what makesbrthis film a must for fans of "Jazz", "Kander And Ebb", andbr"Liza Minnelli" performing at the top of her game! I bet therebrare scenes you can tell are missing which should be put backbrto give the story a stronger love story, rather than a "jerk"brwith major talent and frustration who needs to dominate hisbrwife...........the dvd version could be, the definite versionbrof this film which has been seen in three different versions...brIT'S TIME FOR DVD...........AND FOR "NEW YORK,NEW YORK"@
flawed but fascinating July 25, 2001
Godard maintains that this was Scorsese's greatest film--an outrageous claim but one that I can somewhat sympathize with. It is ironic that Scorsese's reputation is as a sort of gritty realist; in fact, his real subject has always been the slightly warped dream world of profoundly alienated individuals and the real mean streets his characters walk are not in New York but in a half-remembered, half-hallucinated Hollywood of the 40's and 50's. His often--perhaps too often-- repeated gesture is to place his lonely dreamers in collision with "reality" and to show it to be everybit as slippery as fantasy and just as inescapable. In this strange musical he seems to build a whole world out of bits of pop culture memories, cliches, and Hollywood images. This seems to be what attracted him to Liza Minnelli (There are several allusions and echoes of Vincent Minnelli here and Scorsese was one of the younger directors the old man most admired) and this interest on Scorsese's part works to the actress's disadvantage: while her famous parentage clearly resonates with the era and style Scorsese is exploring, her role is grossly underwritten and the director gives her little help, though she livens up considerably in some of her scenes with DeNiro. In fact the scene with the famous theme song came about when Scorsese saw Minnelli working in Vegas--which points up the extent to which he was more interested in the real Liza Minnelli than the character she was supposed to be creating. (Upon completion of this film, Scorsese tried his hand at directing Minnelli in a full scale Broadway musical set in Vegas with disastrous results) The script is famously messy and unworthy of the director and his two stars but in spite of that grave fault, the film is full of strange, poetic images, a harshly brilliant and often funny performance by DeNiro (improvising wonderfully) and a spectacular soundtrack--the big band covers are first rate and Minnelli never sang better...In this ambitious mess of a movie Scorsese shows a sort of greatness far above anything in the more formally perfect but less interesting Raging Bull. By the 1980s Scorsese seemed to have run out of inspiration, with films that either repeat things he had already done better earlier (Goodfellows) or hollow genre pieces (The Age of Innocence). DeNiro, of course, had many more wonders to perform after New York, New York, but the economy and power of his work here remains one of the highlights of his career. Minnelli, alas, never really recovered professionally from this third big budget box office bomb after her Academy Award for Cabaret. She stopped growing as an artist, entered into a period of drug and alcohol abuse, and ultimately this quick and creative performer who had seemed to promise so much at one time became a sad and coarse self parody--a sort of Ethel Merman without the subtlety. But her best work, including this film, stands fast.
Liza and New York,New York March 30, 2001
When this movie first came out I was not even a thought. Being a die hard fan of Liza Minelli I was curious to see what this movie is about. I did not expect my jaw to hit the floor. The story,cinemetography,music was spectacular. I cannot forget the performances of Robert De Niro and Liza Minelli as Jimmy Doyle and Francine Evans is this deep love/sometimes hate relationship. The movie is definitely worth while watching and I can't help to say as much as I really don't want to is how Minelli had a striking reminder of her mother Judy Garland in some of the numbers in this picture. Overall this movie is great.
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