made in new york movie

the story may be all in his head: a deranged man’s dream of vanilla romance with cybill shepherd, unchecked fury at political impotence and the compulsive urge to right every wrong, no matter how slight. it’s a cliché to refer to the woodster’s dramedy as a valentine to his hometown, but c’mon: how else could you describe this gorgeous tribute to the skylines, the queensboro bridge and the city dwellers of new york? in the not-too-distant future (of 1997), the isle of manhattan has become a maximum-security prison, home to mohawked killers, slick con artists, gun-toting femmes fatales and other assorted crazies. they’re among the stacks in the new york public library; they’re in and around central park; they’re even hiding in a scared-stiff street vendor’s hot-dog cart. shooting in every borough except staten island, the film is a near-complete portrait of the city at its grimiest. the majority of this musical tour de force—a modern-day take on romeo and juliet—was shot on a soundstage. hard to believe that a movie about two guys swapping anecdotes and ideologies over a meal could be this riveting, but it’s one of the best talking-heads film ever made.




it’s required viewing for anyone interested in the history of censorship, underground film and camp culture. is it possible for a high-class call girl living in the west 40s to be a symbol of second-wave feminism in its heyday? it also captures the way that a life-shaking, permanently altering experience for one teenager (the riveting anna paquin) can be just another glittering point in the kaleidoscope of the city. darren aronofsky turns lincoln center’s rarefied campus into a grand guignol of power, lust and ambition, all in the name of artistic perfection. a luscious angie dickinson wanders through the metropolitan museum in pursuit of a flirty stranger (a quickie in a cab follows). like a lot of baumbach characters, she’s stuck in the past and a little developmentally arrested—but charmingly so. a case could be made that, of all the superheroes, spidey is the one who is most identified with new york city. the specific new york city of 1991—somehow harsher and more wintry, and still, a place of cozy antiquarian bookstores and down-on-their-luck dreamers in overcoats—comes to life in this real-life tale of literary misadventure.

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