The UPEI Sun, Friday, Oct. 7, l977. Page 6’

NEMASCOPEfl:

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New York, New York, a Martin Scorsese film star- ring Liza Minnelli and Robert De Niro, is. a movie whose great potential has been somewhat spoiled in the transition from idea to actuality. Minnelli plays Francine Evans, a popular singer of the post-war era who somehow falls in love with and marries sax-player Jimmy Doyle (played by De

present.

What went wrong, then? flbll, the potential of the characters is spoiled by the drab performances of Minnelli and De Niro, for one thing. Francine Evans is a dynamic, confident, appealing character, but Liza Minnelli just doesn't get into it right. Only when she sings does she manage to convey the charm

Jimmy's break-up with

Francine that same day. The- scene in which Jimmy visits

Francine backstage and asks her out to dinner after her exuberant final production number is also full of real reeling. Moments of genuine impact such as these occur frequently enough to save the movie from total

mediocrity, and even manage

Her final number is a big performance of the theme song, “New York, New York” in concert, and she ;' ‘ presents herself as a grotesque caricature of the typical superstar of the age.

in sum, then, whether or not New York, New York appeals depends on what your priorities are. If you go for predictable

to offset the blighting effect of Minnelli's big production numbers.

When Liza Minnelli sings as Francine Evans with Jimmy Doyle's band at first, she is good. As an unpretentious jazz singer she is sincere and enjoy- able to watch and listen to. Later, however, when she hits the big time, she loses most of her attractive innovence and becomes ridiculously over- dramatic when performing. Certainly the role of (j? Francine Evans requires a

of Francine's personality. And as for Robert De Niro, well, he only partly succeeds in portraying Jimmy as the forthright, determined, yet sensitive character he should be. However, the film does have its moments. The scene in which Jimmy visits Francine in hospital after the birth of their son is full of comic sadness emphasized by

Niro), only to find that her partnership with him dies when her career sky- rockets and his doesn't. A familiar story line, but one which encourages virtually endless variation and improvisation. In New York, New York, howevefj— the classic appeal of

“boy meets girl, boy marries girl, boy leaves girl” plot is only partly

plotlines spiced up with emotional interludes,'some nice singing, and some over-glittery production numbers, then New York

New York is for you. On the other hand, if you require characters who

are consistently three- dimensional, a few surprises in the story, and if you are turned off by overproduced and spectacular stage musical productions, New York, Nqi York might prove a bit "* much for you; And, if you're like me, you'll leave the theatre feeling moved, entertained, dis- satisfied, and disappointed all at the same time.

steady decline into the depths of forties and fifties tackiness, but Minnelli carries it past the point of credibility.

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