Hacker Cinema
New York, New York
1977 · Film · 163 min
Directed by Martin Scorsese
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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3 comments on Hacker News
:-( I've been a subscriber nearly from the start and I've watched hundreds of movies via this service. It is a tragedy simply because so much content is not available any other way or a myriad of disparate streaming services that I am not going to subscribe to. There was a good article about this topic in the WSJ from a few months ago [0]. As the article states:
"This month the Washington Post’s Ty Burr reminds us of some movies we can’t stream: “Cocoon” (1985), directed by Ron Howard, “Short Cuts” (1993) by Robert Altman, “New York, New York” (1977) by Martin Scorsese, “Henry & June” (1990) by Philip Kaufman and “Silkwood” (1983) by Mike Nichols."
The only silver lining is I am probably going to start exploring the Kanopy catalog more which may be available via your local public library.
[0] https://www.wsj.com/articles/dvds-demise-leaves-many-films-gone-with-the-wind-netflix-streaming-culture-tv-movies-cdee40b3
New York, New York is a film by Martin Scorcese, with a famous song composed by John Kander and Fred Ebb, and performed by Liza Minnelli.
I will grant you that Sinatra's performance is strong, distinctive, even a bit better known. But he stands behind several eminent artists on this one.
I love FFC. I'm a current UCLA film student - Coppola's alma mater. One thing to think about: UCLA has always been the "indy, intellectual" film school. It's our rep, internally and (to an extent) externally. When Coppola left UCLA to work in Hollywood, he was branded a sell-out by his fellow students.
One thing to think about w/ this whole "crush Hollywood" thing is this: most of your favorite movies (assuming you've got a boner for the New Hollywood period like I do) were a result of an aging, out-of-touch entertainment monopoly making desperate, reactionary moves to save itself. The old system didn't work, the people in charge had no idea how to fix it, so they went crazy taking risks on young directors. FFC, Scorsese, Spielberg, Altman, de Palma, Lucas - all the really top-drawer American filmmakers, honestly - were a result of this period of blind desperation.
There would be no Godfather without Hollywood. No Apocalypse Now. (also no Taxi Driver, no Star Wars, no Indiana Jones, no MASH or Nashville) In the absence of Hollywood, you get movies like Youth Without Youth and Tetro - two wonderful oddities, but you'd be hard pressed to make the case for them against Coppola's early masterpieces.
The beautiful and horrible thing about Hollywood is that it's a system designed to throw huge stacks of cash at storytelling problems. It's fucking absurd, because money has never been capable of solving those kinds of problems - practice and gut instinct are what create good stories. But when strong storytellers are placed in an environment which supplies nearly unlimited resources, totally amazing things happen. Yes, we can all point to Heaven's Gate, New York New York, and Coppola's own One From the Heart, but flops like those are the inevitable flip side of the system I've just described: talented people can abuse unlimited resources just like anybody else.
I guess what I'm saying is: I'd be seriously depressed if Hollywood were to vanish. Yeah, it produces a lot of shit, but its high water marks have never really been replicated by any other mode of production.