Maybe I am not the ideal audience for Martin Witz’ Gateways to New York. On the one hand, it’s a documentary about some of the bridges of New York. Since I have absolutely no spatial orientation, I was at a loss as to where these bridges are and which two areas they connect. Here’s an easy question: what does the George-Washington Bridge connect? I only faintly remembered that the answer is New York and New Jersey, maybe because of The Sopranos. And what does the Verrazzano-Narrows Bridge connect? Aha, see? I have no clue, and if you are not from the Eastern Seaboard, or an acolyte of architecture, you might be as lost as me. There are maps in Witz’ documentary, but they are gone before you can really grasp which bridge we are talking about now. Continue reading
… oh, but it is. It is. In subtle but essential ways.
Okay, that’s probably way more cryptic than you would’ve hoped for – so let’s clarify things: Anthony Minghella’s latest, Breaking and Entering, a film that feels like it was made by Guardian readers for Guardian readers, gets some things very right. If you’re into urban decay, atmosphere, good acting, if you basically want to see a mood poem set in London, or indeed if you want to ogle Jude Law and enjoy his accent, this film is for you.
If you want a stringent story with credible character motivations and subtle writing… Meh. Not so much. It’s a shame, really, because the acting is there: I’m not usually a fan of Robin Wright Penn, but she makes her character’s pain credible, and the rest of the cast does a good, sometimes great job – but it doesn’t help that the film takes things that were already clear when they were only implied and makes them clumsily explicit. Also, one of the central two relationships seems to pop up out of nowhere in between scenes – and this, to me, almost crippled the film. (In fact, I felt like I’d fallen asleep for five minutes and had missed an important scene.)
What I really liked: the depiction of London; Martin Freeman’s character (oh so British!); Vera Farmiga’s character, miles away from her shrink in The Departed; Juliette Binoche (there are people, good friends of mine, who hate her – I’m sorry, guys, but I hope you forgive me for liking her acting a lot); the look and feel of the film. In some ways, I think I would have preferred Breaking and Entering if I’d seen it dubbed into some language I barely understand. If I could have watched the dialogues through some sound-proof window and taken in only the images and the soundtrack, I might have loved it.
P.S.: Minghella’s working on an anthology film called New York I Love You. Check out the list of directors, and give a good, hearty “What the…?”
I’m afraid you’ll have to wait a bit longer ’till I start going on at great length about the films that didn’t click for me. You have my sympathy, though; it can’t be easy waiting even longer for something that highly anticipated… (On a related note: Amazon recently sent off my copy of League of Extraordinary Gentlemen: The Black Dossier, according to the Moore-man “not my best comic ever, not the best comic ever, but the best thing ever. Better than the Roman civilisation, penicillin, […] the human nervous system. Better than creation. Better than the big bang. It’s quite good.” Sounds like something to look forward to.)
Anyway, the reason for today’s delay is this:
(Note: I’m afraid the YouTube video is in Spanish – here’s a link to the English video.)
While it’s probably a bit too precious for its own good, it’s still an amazingly well done advert. But what really throws me every time I see (and hear) Martin Scorsese is just how much he looks and sounds like an Italian-American, less neurotic though just as fidgety Woody Allen. And they both love New York.
Twins, separated at birth? Or are they actually the same person – i.e. Woody had better acting skills than we’d thought, and he’s been working on his Brooklyn accent? My guess is that this is just another one of those Hollywood mysteries that will never be solved. Like Ben Affleck’s success. Or William Shatner’s hair.