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Thread: New York in movies and books.

  1. #31
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    A nice slide slow of romantic movies set in New York.

    New York is for Movie Lovers

    This is a fabulous shot of the Queensboro (59th Street) Bridge:


    ("Manhattan")

    They got the wrong bridge in the caption to this one :


    Sitting underneath the looming Brooklyn (...oops, Verrazano Narrows) Bridge, Tony and Stephanie
    consider their different lifestyles - him at a dead-end job and her as a talented secretary – and hopes for the future.
    ("Saturday Night Live")

    Ah, there it is...


    ("Sex and the City")

  2. #32
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    No coincidence

    Experiencing a rift between words and the world set novelist Paul Auster on his writerly path, writes Kevin Rabalais

    IT'S a story of baseball and chance, the kind that Paul Auster might have invented had it not happened to him as an eight-year-old obsessed with the game. Back then, after seeing his beloved New York Giants play at the Polo Grounds, Auster waited for the crowd to disperse. By the time he left the stadium, the only exit still open was near the players' locker room. There, he sighted his boyhood idol, Willie Mays. Summoning the courage, he approached for an autograph.

    "Sure, kid, sure," Auster remembers Mays saying. "You got a pencil?" Auster said he did not. "Sorry, kid. Ain't got no pencil, can't give no autograph."

    "I didn't want to cry," Auster writes in his essay collection, The Red Notebook, "but tears started falling down my cheeks, and there was nothing I could do to stop them." From that day on, the essay continues, he began carrying a pencil everywhere he went.

    "As I like to tell my children, that's how I became a writer."

    Seated in the courtyard of a colourful patisserie in Brooklyn's Park Slope, his own neighbourhood, the 62-year-old Auster leans forward. "There's a coda to that," he says. Despite the evening light, Auster wears sunglasses. He's dressed in jeans and an untucked shirt, laceless leather shoes. His expressive hands set in motion the promise of a story. "Here it goes."

    Five decades after he left the Polo Grounds without Mays's autograph, Auster ran into his friend, novelist Amy Tan, at a writers festival. "The A. in one of the essays in The Red Notebook is Amy," he says, noting the first element of coincidence in his coda. "I went off to buy a copy of the book for her. I gave it to her and said, "Amy, I've written this story about you.' "

    Tan then returned home to San Francisco. After reading The Red Notebook, she visited a neighbour, telling the elderly man that there was something she wanted him to hear. "Fifty-two years," Mays said after Tan read aloud the story of the eight-year-old boy who wept after not obtaining his autograph. "Fifty-two years."

    Since the 1985 publication of his first novel, City of Glass, Auster has been examining mysterious acts of coincidence in the everyday or, as the title of his 1990 novel defines it, The Music of Chance. As he wrote of the main character in City of Glass, also named Paul Auster, "Much later, when he was able to think about the things that happened to him, he would conclude that nothing was real except chance."

    It's not surprising, therefore, that Auster's latest novel, Invisible, begins with the kind of chance encounter that causes readers to scan his work for autobiographical elements as they follow it with cultish enthusiasm.

    In Invisible, Paul Walker, a young Columbia student, encounters the seductive and engaging Europeans Rudolf Born and his girlfriend, Margot. "I was a second-year student at Columbia then," Auster writes in the novel, "a know-nothing boy with an appetite for books and a belief (or delusion) that one day I would become good enough to call myself a poet."

    If Auster's fictional world merged with his own biography, he and Walker would have had the same circle of friends at Columbia, where each studied during the late 1960s. "I was always writing poetry," Auster says of his time as a student. "I still think like a poet. When I was very young - I'm talking about 20, 21, 22, an undergraduate boy - I started two novels, and I made some progress with them, but I just wasn't old enough, wise enough to know how to write them in the way I wanted to write them."

    As a writer, Walker finds himself in a similar predicament. Invisible begins in New York City in 1967. As it progresses through the next four decades, shifting among four points of view, it uncovers multiple layers of potential about the story that Walker tells in the opening section. The labyrinthine structure reveals the search for truth that fills Auster's work. Such a search, however, no longer intrigues him as it once did.

    "The older I get, the less self-reflexive, less philosophical, less worried I become about theoretical problems. I'm now just sliding into these projects with my unconscious and groping my way through them. I work in a fever now," he says, noting that his ideas arrive "fully formed". "It's all very mysterious. In almost every case, a character is born with his or her name. They're just there. It's very intimidating."

    While these things have held true since Auster began writing fiction, he says that other aspects of the process have changed since he published his 1982 pseudonymous novel, Squeeze Play.

    "For years I had a mental drawer full of stories that I wanted to write. I knew what was going to come next, more or less. And then a moment came, about five years ago, when that drawer was empty."

    Since he exhausted that "mental drawer", which includes The New York Trilogy, In The Country of Last Things, Moon Palace and Leviathan, Auster has published three new novels: Travels in the Scriptorium, Man in the Dark and Invisible.

    He has also just completed another new book. "I feel like I've plucked each of these recent books out of thin air," he says. Between work on his novels, Auster says there are gaps of up to six months when he does not write. "I just live in a kind of morose confusion."

    There was a period during Auster's early 30s, however, when he wasn't writing in such a frenzy. "I couldn't write poetry. I couldn't write anything. My marriage was falling to pieces. I was broke. It was a dark time."

    Then chance intervened. "In late 78, I went to a dance performance. There was no music. I thought it was beautiful, absolutely thrilling to watch. The choreographer would stop the dancers and try to explain what she had done, and her words were so inadequate. They came so short of describing anything or fulfilling anything to do with what I had just witnessed that a kind of breach opened up in me, one of tremendous happiness, this rift between words and the world."

    After leaving the performance, Auster began to write a poem, White Spaces, which he considers his breakthrough. At 2am, after several hours of work, he went to bed. A phone call woke him five hours later. "When the phone rings at 7am on Sunday, you know it's bad news." Auster learned that his father had died that night of a heart attack.

    Ten days passed before began to write The Invention of Solitude, a memoir of his father and of his life as a parent. "I was just writing," he says. "By the time I was finished, I felt that I had conquered the old ghosts because I wrote without caring what it sounded like. I can't quite explain how liberating it was not to care about literature any more, but only the particular project in front of you, to say it in the best way you can possibly say it, and everything else will fall into place if you're able to come close to that. I've worked with that principle ever since."

    Auster's prodigious body of work includes novels, poetry, essays, memoirs, screenplays and translations. From his early days of writing, he has maintained a process that begins with longhand before he transcribes his work on to an Olympia typewriter. He wrote about the typewriter, on which he has composed all his work since 1972, in the book The Story of My Typewriter. "Once I have a paragraph in reasonably OK shape," he says, "I type it up so that I can see it."

    Other methods have changed. "In the beginning, I had this deal with myself," he says. "After I finished working every day, I would tell myself, 'You mustn't think about the book. Just put it out of your head. It won't be good if you're thinking about it every minute.' So I made myself think about the next book that I wanted to write. And that's what I would think about as I was falling asleep. That doesn't work any more."

    Besides writing those two abandoned novels while at Columbia, Auster also considered attending film school to study directing. "One of the reasons I didn't do it is that I was too shy. I couldn't talk to anybody. I thought, if I can't communicate with anybody, how can I direct a film?"

    Years later, after his first novels were published, filmmakers began to contact him. His screenplay, Smoke, was filmed in 1995, and starred Forest Whitaker, Harvey Keitel and William Hurt. At director Wayne Wang's suggestion, the two made Smoke "in tandem". "We did everything together," Auster says. "Sets, costumes, music. I rehearsed the actors with him. We spent seven months sitting in a room together, editing the film."

    During that process, Wang and Auster decided to make an "improvised film" Blue in the Face. They planned to shoot in Brooklyn over three days. On day one, however, Wang called the set to say that he was sick and wouldn't be there to direct. "Paul can do it," he said. "And that," Auster says, "is how I became a director. I got a great pleasure from working with other people. When making a movie, you have to think on your feet. As a writer, you never do. You're just sitting there on your arse."

    Between 1998 and 2007, besides writing and directing two feature films, Lulu on the Bridge and The Inner Life of Martin Frost, Auster published five novels, among them The Book of Illusions, Oracle Night and The Brooklyn Follies. In those books, as in person, Auster possesses a great storyteller's seductiveness His manner continually reassures: Trust me. I'm telling you stories. And for someone who has spent his life observing the mysteries of coincidence, there's always a story to tell.

    This one ends with a baseball.

    As fortune would have it, Auster finally got his autograph. For good measure, and perhaps aware of the music of chance that brought Auster's story to his door five decades late, Mays also signed a copy of The Red Notebook.

    http://www.theaustralian.news.com.au...-16947,00.html

  3. #33
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    11 Best New York City Horror Movies

    Nick Carr

    Just in time for Halloween, we've put together our list of the best horror movies that take place in New York City! If you think we've overlooked a film, or disagree with our choices, battle it out in the comments!
    Without further ado...

    Evil Brewing in the City


    Double Feature: Ghostbusters / Ghostbusters II


    Does Ghostbusters really need an explanation? Though we've all seen it a million times, Ghostbusters is endlessly rewatchable and an excellent group film (I've seen entire crowds quote the dialog from start to finish). As for its New York content, the movie gives viewers one of the best tours of the city ever captured on celluloid, and as a plus, the geography of the movie actually makes sense!

    Watch For: a brief glimpse of Ron Jeremy in the crowd outside Dana's at the end of the film.

    Say what you will about Ghostbusters II - when I reference 1) Vigo the Carpathian or 2) the River of Slime, you know exactly what I'm talking about, and that's gotta mean something, right? (hell, chances are you even know what a "slime blower" is). Though basically a carbon copy of the first in nearly every way (underdogs become heroes, Venkman wins over Dana, a larger-than-life icon brought to life in the finale, etc.), this one still has its charms (New Yorker's immense hate and disdain manifesting itself into a pink sludge? Brilliant!)

    Watch For: Ray's Occult Bookstore, located at 33 St. Mark's Place


    Rosemary's Baby


    Another no-brainer. To those that see the film as being a bit dated and campy, I feel they're missing the point. In my opinion, the characters are among the most realistic ever to populate a horror movie. Rosemary is both incredibly well-meaning and immensely naive, but she never comes off as a horror movie ditz. In many ways, it is her unyielding desire to please that causes her to ignore the obvious and get in such deep trouble.

    Her husband Guy, easily one of the sleaziest villains in film history (he lets Satan rape his wife - can you get any worse?), is not a one-dimensional antagonist; we see him change from loving husband to self-centered asshole as the film progresses, an organic shift for his character. And though very much over the top, the Castevets are perfectly believable as the kind of kooks who would try to bring about the return of Satan. For some reason, people tend to picture Satanists as being robe-wearing goth types. Imagine instead that the crazy aunt and uncle in your family accidentally stumbled upon some dark magic and used it to bring about Lucifer. If you were to walk in on the ceremony, the appearance would be comical, but the results horrifying - one of the film's juxtapositions that I love.


    C.H.U.D. (Cannibalistic Humanoid Underground Dwellers)


    You can stop worrying about the alligators in the sewers - it's the CHUD's you've gotta watch out for! A schlocky B-movie, but a charming B-movie at that. If you're looking to make fun of this MST3K-style, you might find yourself surprised. Daniel Stern actually gives a decent, non-hammy performance (a rarity!) as the head of a homeless shelter. Not too many scares, but a lot of creepy fun.

    Something's Behind You...


    Cat People


    If you've never seen it, do yourself a favor and rent Cat People. Directed by horror maestro Val Lewton, Cat People is about...well, people that turn into panthers, and features at least two masterful moments of suspense that have stayed with me since I first saw the film (I'd mention more, but I don't want to ruin them). Though Cat People wasn't actually filmed in the city, look for a decent recreation of a Central Park transverse.


    Wait Until Dark


    I gotta be honest (and I know I'll lose a lot of you on this one): I'm not a Wait Until Dark fan. My parents hold it to be one of the scariest movies ever, but though I've seen it a number of times, I've never really understood the appeal. Ultimately, it feels to me like filmed theater, which I really, really dislike. If you're going to make a movie version of a stage play, just make sure to bring something cinematic to it. Instead, the camera is plunked down in practically a fourth wall position to film the proceedings (which at times are distractingly theatrical), and to me it feels hammy and flat. Yes, the finale in the dark is clever, but while I can imagine it having a great effect for anyone watching the stage play in a pitch black theater, on the screen, I feel it loses most of its impact.

    But!

    I know I'm in the minority on this one, and if I'm going to have CHUD on this list, I have to include Wait Until Dark too!

    They're Destroying the City!


    The Beast From 20,000 Fathoms

    One of the first monster movies, The Beast From 20,000 Fathoms tells the story of a hibernating dinosaur who, after being awoken by atomic bomb testing in the Arctic, comes to New York and tears the place up. The special effects, by master Ray Harryhausen, steal the show and are definitely worth a viewing. In a way, the movie is basically the same as...


    Cloverfield


    Though a bit overhyped when it first came out, Cloverfield is a fun first-hand jaunt through New York City as a space monster wreaks havoc. The geography makes no sense (they skip the Williamsburg bridge and the Manhattan Bridge to take the (more photogenic?) Brooklyn Bridge as an escape route, and somehow walk from Spring Street to 59th Street in a matter of minutes) and the characters are especially unlikeable, but the handy-cam nature of the filming is well-used with the special effects to add a sense of realism to the whole thing...lending to some decent suspense and jump moments.

    Monsters on the Loose!


    King Kong

    Another no-brainer. What more can be said about King Kong? (though nowadays, would Kong prefer to climb the Time Warner Center?).


    Q: The Winged Serpent


    The tag line for this film - "It's name is Quetzalcoatl...Just call it Q. That's all you have time to say before it tears you apart!" - should give you a very good idea of what you're in for. Regardless, it's a fun monster movie featuring the winged Q, who has been busy snatching people up throughout the city. Filmed on location at the Chrysler Building, you get a look at the top-most floor of the spire (which surprisingly looks like a wooden attic!).


    Planet of the Apes


    I stayed away from sci-fi for this list (Independence Day, Escape from NY, etc.), but I'll make an exception for Planet of the Apes. Not a New York movie, you say? Did you not see the ending? The whole thing was filmed in and around New York!

    Movies to Avoid

    End of Days, Dark Water, I Am Legend (CGI zombies are not scary, period; two hours of watching Will Smith get chased by cartoony pixels is mind-numbing), Gremlins II, and especially...


    Friday the 13th: Pary VIII - Jason Takes Manhattan

    Look, this might be great if Jason actually got to Manhattan. Unfortunately, too much of the film takes place on a cruise ship bound for Manhattan (Jason has hitched a lift from Crystal Lake along with a high school senior class). Once he finally arrives, Jason causes a bit of mayhem on the streets, but then disappears into the sewers for the film's climax. Yeah, lots of fun and plenty of victims in the New York's sewer system, right? Jason is ultimately killed by "toxic waste" being flushed through the sewer.

    http://www.huffingtonpost.com/nick-c..._b_339578.html

  4. #34
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    Default City Island

    A Bronx Island in Many Roles, Even as Itself


    “Long Day's Journey Into Night” and other films were made at Barbara Burn Dolensek's home


    Long Day's Journey Into Night (1962)
    This adaptation of the Eugene O'Neill play about a family ravaged by drugs
    and drink starred Katharine Hepburn and was filmed in a shingle-style
    house that Barbara Burn Dolensek and her husband, Emil, who was chief
    veterinarian of the New York Zoological Society, later bought.



    The Royal Tenenbaums (2001)
    The director Wes Anderson cast Ms. Dolensek's house as the Tenenbaums'
    summer home on Eagle's Island. He was "really excited by the fact that
    'Long Day's Journey' had been filmed there," Ms. Dolensek said of Mr.
    Anderson, adding, "They took up the entire street for literally just 45
    seconds on film, but I got Gene Hackman in my living room."


    slide show

    CITY ISLAND, a tiny and curious enclave in the Bronx, has a cinematic history that is long, if not quite storied: Parts of a 1912 rendition of Shakespeare’s “Richard III,” believed to be the oldest surviving complete American feature film, were shot there.

    But the island is often playing some quaint small town or fishing village far from New York. Now City Island is starring as itself, in “City Island,” which won the Audience Award at the 2009 Tribeca Film Festival and opens Friday at the Angelika Film Center in Greenwich Village. The movie features Andy Garcia, who is also a producer, as Vince Rizzo, a prison guard with secret acting aspirations — and a bigger secret.

    Before seeing the script, Mr. Garcia had been to City Island only once, for a jam session with the jazz legend Tito Puente, who owned a restaurant there. But his manager grew up in the Bronx. “She goes, ‘City Island? I love City Island. I used to go there for lobster every Sunday,’ ” Mr. Garcia recalled. “She was like, so excited, ‘Oh, you’ve got to do that movie.’”

    Mr. Garcia recently returned to City Island, reminiscing over hamburgers (he is allergic to lobster) at the home of some locals he had befriended during the 27-day location shoot: Daniel and Sally Connolly, who live in an immaculately restored waterfront home across the street from where much of the movie takes place. They had friends over for cocktails on the front porch while the final scene was being shot on the cul-de-sac.

    “We’d do a take, come have a cocktail,” Mr. Garcia said. “I knew the producer, so they couldn’t fire me.”

    “City Island,” alas, will not play on City Island: The movie theater closed years ago to make way for the IGA supermarket, which has a cameo in the film.

    In the accompanying slide show, a brief history of City Island on the big screen, culled by Barbara Burn Dolensek, the writer and copy editor of The Island Current, a monthly newspaper. Ms. Dolensek has lived on City Island for 34 years but is still considered a “mussel sucker,” as opposed to the native “clam digger” — a distinction noted in “City Island.” True clam diggers are a dying breed; purists say they must actually be born on City Island, which has no hospital. But we digress.

    http://www.nytimes.com/2010/03/14/ny...l?ref=nyregion

  5. #35
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    007's New York (Part 1)

    Take a tour of New York City as Fleming wrote it, with MI6 guest author Ben Williams.



    In Ian Fleming's novels and short stories, James Bond was fortunate enough to travel all over the World. After all, it was, and still is, a part of his job to protect the British interests overseas. Of course, this was also a great excuse for Fleming to combine the exoticism of international travel with high adventure, and, for the readers, this was a way to experience vicariously through their hero the thrills of far-flung cities that they might not have been able to enjoy themselves.

    Click on the map to launch MI6's interactive guide to 007's new York in Google Maps. Additionally, click any bold/blue link to jump to that locale on the map.

    I remember as a boy reading the Bond novels and imagining these wonderful locales, wondering if I would ever get the chance to walk in his shoes. Well, thanks to affordable air travel, you no longer need to be overly wealthy or a member of the British Secret Service to do so. I have been fortunate enough to find myself in one or two of the cities where Bond's adventures take place.

    Bond has visited New York a number of times in the films, novels and short stories. It is a wonderfully vibrant city, full of energy and life. However, like the rest of the World, it has certainly changed since Fleming wrote about it.

    Getting There

    Let's start off with Idlewild. Now named John F. Kennedy Airport (JFK as its known to locals), Idlewild is the first port of call for James Bond into New York, so I'd suggest getting a flight that takes you into JFK rather than Newark. That way you'll be able to visit a Bond location as soon as you arrive. Idlewild was not generally thought of that highly by Bond, and he certainly isn't looking forward to going through customs when he arrives in "Diamonds Are Forever". However, the American Government intervenes and makes sure he receives VIP treatment and is whisked through without the formalities. Sadly this is not the case in "Goldfinger", where he is virtually smuggled into the States against his will, nor is it true of "007 In New York", where Bond is angered by its inefficiency. So, even if you find customs a drag, you'll be sharing the same feelings as Bond, which might lift your spirits somewhat.

    Below: (top) Idlewild during the 1960s and (bottom) TWA Terminal at present-day JFK.




    From Idlewild you can get a taxi into Manhattan. Interestingly, Bond always uses The Carey Cadillac (the same car company Marilyn Monroe frequently used) whenever he comes to New York. Carey no longer operates, however you can book a town car to the city for a little more than the cab fare. These town cars are usually Cadillacs, and for the real Bond experience and lack of stress, I highly recommend booking one.




    Above: Flushing Meadows, site of the '64-'65 World Fair. The famous Unisphere is still standing today.

    Specify your journey to your driver here because there are much faster ways into Manhattan nowadays. Fleming, it seems, had Bond go via the Van Wyck Expressway (I-678) and then via Grand Central Parkway. This might be a slightly more time consuming route, but it is the way Bond went in to town. On the drive, be sure to look out for the site of the 1964-65 World's Fair at Flushing Meadows. Bond didn't visit here in any of Fleming's books or short stories; however, he does see the site under construction during his drive in to Manhattan.


    Above: The Triborough Bridge in Fleming's era.

    He also crosses the Triborough Bridge, now named the Robert F Kennedy Bridge. Fleming describes it as:

    "...that supremely beautiful bridge into the serried battlements of Manhattan."

    Where To Stay

    So, now you have arrived, where do you stay? Bond has stayed in a couple of hotels in New York that we know of. In "Diamonds Are Forever" and 007 in New York, he stays at The Astor, and Tiffany Case is also staying there in "Diamonds Are Forever". The Astor was located in the heart of Times Square, opposite the Bow Tie Building. Interestingly, the sign on the Bow Tie Building at this time would have read "BOND" in huge neon letters. Sadly, the Astor no longer exists. However, if you wish to visit the location, it once stood in Times Square, on the corner of 7th Ave and West 44th Street, opposite where the Toys 'R Us now stands. You could try booking a hotel in Times Square to try to evoke the same ambiance, however, I would suggest that you forget this and stay at the St. Regis.


    Above: (left) The St. Regis hotel on 5th avenue and (right) The Astor in Times Square.

    The St. Regis is not inexpensive, but since when has Bond taken the budget option? The St. Regis is on 5th Ave and East 55th Street and is where Bond stays in "Live and Let Die", high up on the 21st floor. Bond is Americanised (or should that be Americanized) here by Felix and the men from the FBI. It is also here that Mr. Big warns Bond off the case by sending him an exploding alarm clock. Bond calls down for room service with the following:

    "Room Service? I'd like to order breakfast. Half a pint of orange juice, three eggs, lightly scrambled, with bacon, a double portion of cafe Espresso with cream. Toast. Marmalade. Got it?"


    Above: The elaborate lobby of the St. Regis, New York.

    Fleming describes the St. Regis as "the best hotel in New York." What more do you want?

    http://www.mi6.co.uk/sections/articl...rk_guide1.php3

    Part 2

    Part 3
    Last edited by Merry; September 27th, 2010 at 04:03 AM.

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    A Great Line, Taken Badly Out of Context

    By CLYDE HABERMAN

    That public figures can be influenced by movies is an old story.

    Richard M. Nixon identified hugely with the audacious, rough-and-ready (and somewhat nuts) World War II general who is the title character in “Patton.” John F. Kennedy had a thing for James Bond and his creator, Ian Fleming, though he didn’t live beyond the first couple of 007 films. Ronald Reagan channeled the “make my day” Clint Eastwood, and now and then confused some of his own Hollywood roles with reality. A few people who dismiss Darwin’s theories as a lot of hooey seem to believe that “The Flintstones” is a documentary.

    Certified bad guys, too, take their cues from film. Salvatore Gravano, the mob hit man better known to some by his nom de whack, Sammy the Bull, once said that “The Godfather” had an effect on how he went about his craft. “It made our life, I don’t know, it made our life seem honorable,” he said. “I would use lines in real life like ‘I’m gonna make you an offer you can’t refuse.’ ”

    It is not surprising that Hollywood continues to cast its influence. Nowhere is this more vividly displayed than in the political campaigns of some Tea Party types, including their leading light in New York, the imploding Republican and Conservative candidate for governor, Carl P. Paladino.

    As has been amply noted in this column and elsewhere, the battle cry of the Paladino campaign is “I’m as mad as hell, and I’m not going to take this anymore!” It’s from the 1976 film “Network,” and it ranks No. 19 on the American Film Institute’s roster of the 100 top movie quotations of all time. For some, it practically amounts to a philosophy.
    But you have to wonder if any of the “mad as hell” men and women running for high office have ever seen “Network.” The line is screamed not by a mad man but by a madman.
    Its shortcoming as political theory was neatly dissected this week by Ben McGrath in The New Yorker. Anyone familiar with the film might well ask if Mr. Paladino “has thought this one through,” Mr. McGrath says.

    “ ‘Network’ is not a story of redemption through anger,” he writes. Rather, “mad as hell” is the rant of a character, Howard Beale, who is having a nervous breakdown — “a delusional tool of corporate interests who ends up getting shot on live television when he has outlived his usefulness to them.”

    Small wonder, then, that Mr. Paladino barely registers a pulse in a new batch of opinion polls released this week. His all-too-literal rendition of Quotation No. 19 has put him in grave danger of soon hearing a line from “Terminator 2: Judgment Day” that landed in 76th place on the film institute’s list: “Hasta la vista, baby.”

    UNDER far less volatile circumstances, Hollywood’s influence on public life was underscored the other day by the Bronx’s own Supreme Court justice, Sonia M. Sotomayor.

    Justice Sotomayor selected a movie that was shown at the Fordham University School of Law, part of an annual law-focused film festival that ended Thursday evening. Her choice was Sidney Lumet’s “12 Angry Men,” from 1957. It set her on a law career, the justice said. The reverence for the jury system expressed by one of the film’s jurors inspired her. “It sold me that I was on the right path,” she told the festival audience.

    But in a sense this movie is an odd inspiration, even if it is not nearly as off the charts as “Network.” Justice Sotomayor herself allowed that reality takes a pounding in “12 Angry Men” as the jurors indulge in speculation that goes way beyond the courtroom testimony.

    “Her very first comment was, ‘You do know how absurd this all is,’ ” said Thane Rosenbaum, a writer and law professor who is director of the film festival. A more profound cinematic influence for would-be lawyers, he said, is Atticus Finch, that symbol of moral rectitude in “To Kill a Mockingbird.”

    “More people in their law school applications cite the movie’s Atticus Finch — not the novel’s but Gregory Peck’s portrayal — as a reason they want to become lawyers,” Mr. Rosenbaum said.

    “What’s great about that character,” he said, “is he basically tells you that you can’t just be a professional from nine to five. You have to be a mensch all 24 hours. Honor is something that is on all the time.”

    Hmm, honor as a 24/7 pursuit. Maybe that’s why you never hear political candidates invoke Atticus Finch on the campaign trail, only Howard Beale.

    http://www.nytimes.com/2010/10/22/ny...1&ref=nyregion

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    Won't come close to being as good as the marvelous play/film with Jason Robards and Barry Gordon. The ukulele scene was classic.

    If anyone goes to see this, I'd love to know what you thought of it.



    ‘A Thousand Clowns,’ but Just One Oddball

    By MICHAEL SOMMERS





    Considering the profusion of antique shops in Red Bank, it is surprising that the Two River Theater Company’s production of “A Thousand Clowns” there does not feature a more convincing array of junk cluttering its oddball hero’s messy apartment.

    Like the large glass case of toy and taxidermy animals shining in the center of his one-room loft in New York, or the line of vintage typewriters bordering the edge of the stage, or the tastefully gray wooden crates and battered palettes that function as bohemian furnishings, the details of the set designed by Jason Simms appear studied and a tad phony.

    A similar sense of artificiality pervades this otherwise competent revival of Herb Gardner’s 1962 comedy about Murray Burns, a cheerful drop-out in his 30s whose casual guardianship of Nick, his precocious 12-year-old nephew, is threatened when agents from the Child Welfare Bureau arrive one spring morning to assess his fitness.

    Having quit his job six months earlier as a writer for a children’s TV program, “Chuckles the Chipmunk,” Murray lately spends his days going to the movies, visiting city landmarks, yelling fanciful remarks out the windows at his neighbors and leading a happy-go-lucky existence fueled by scant funds and capricious spirits.

    Murray’s quirkiness indeed proves so lovable that Sandra Markowitz, one of the bureau investigators, wakes up in his bed the morning after visiting his apartment.

    Sandra’s positive influence notwithstanding, Murray reluctantly realizes that Nick may well get packed off to foster care unless he buckles down to find work. Arnold, Murray’s long-suffering agent/brother, and the insufferably jolly Leo Herman, better known as Chuckles the Chipmunk, figure into subsequent events.

    The first and simplest of Mr. Gardner’s agreeable character studies of offbeat New Yorkers, which also included “I’m Not Rappaport” (1985) and “Conversations With My Father” (1992), the whimsical “A Thousand Clowns” demands a charismatic leading man.

    Murray must be able to converse through megaphones and casually fiddle with odd bric-a-brac, like a hula-girl statue with lighted breasts that blink on and off. Mr. Gardner’s benign portrait of a nonconformist straightened out by love was created on Broadway in 1962 by Jason Robards, who later starred in the film version.

    Murray is depicted here by a frizzy-haired and bobble-headed Michael Nathanson, who tries hard to play him as a jaunty slob but tends to hammer away self-consciously in a facetious performance that proves more tiresome than beguiling. Mr. Nathanson’s manner suggests that Murray does not so much enchant people as wear them down. Certainly Crystal Finn’s Sandra looks more dazed than dazzled by his acquaintance, even though her love-struck character is inspired to clean up the apartment (and thereby reveal another dubious collection of furnishings). It’s a pity that Jessica Ford, the costume designer, has dressed neither performer attractively.

    Solid in supporting roles, Lou Liberatore portrays Murray’s brother with sad eyes and a defeated manner, while Nick Sullivan’s cherubic face befits his chipmunk-cheeked television personality.

    Young Matthew Gumley wears black spectacles and an appropriately self-possessed air as Nick, who in many ways is more adult than everybody else. The boy exudes a sturdy presence that contrasts nicely with Mr. Nathanson’s jumpy Murray. Together they perform a ukulele-strumming rendition of “Yes Sir, That’s My Baby” that is quite a crowd-pleaser.

    Had Davis McCallum, the director, staged “A Thousand Clowns” with persuasive visuals and a finer sense of spontaneity, audiences might be tickled even more by Mr. Gardner’s quixotic comedy.

    “A Thousand Clowns” is at Two River Theater Company, 21 Bridge Avenue, Red Bank, New Jersey, through Feb. 20. Information: (732) 345-1400 or trtc.org.

    http://www.nytimes.com/2011/02/13/ny...1&ref=nyregion

  8. #38
    NYC Aficionado from Oz Merry's Avatar
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    Manhattan TV and Film Sets

    The tour goes to New York locations of TV shows like "The Honeymooners" and movies like "Breakfast at Tiffany's."

    By Della Hasselle



    Holly Golightly's Brownstone on 169 E. 71st Street.MIDTOWN WEST — The bus tour company responsible for the "Sex and the City" and "Sopranos" tours has launched a new route, featuring sites of more than 50 classic TV shows and films, including "The Honeymooners" and "Breakfast At Tiffany's."

    The Classic New York TV and Movie Sites Bus Tour, run by On Location Tours, breaks down movie history in Manhattan by neighborhood and differs from the other tours the company offers because it's specifically focused on customers with an old-fashioned state of mind, owner Georgette Blau said.
    "It's definitely a smaller number of people — movie buffs, older people, people nostalgic for older TV shows and movies," Blau said. "It's nice because it has a little bit more history."

    Highlights from the classic tour include filming locations on the Upper East Side where crews filmed parts of Dustin Hoffman's "Marathon Man," Dudley Moore's "Arthur" and Melanie Griffith's "Working Girl."

    Manhattan's commercial-centric Midtown is also explored during the tour, and points of interest include a subway grate that provided the blast of air for Marilyn Monroe's famous wardrobe malfunction in "The Seven Year Itch," as well as the Waldorf-Astoria Hotel, featured in Jack Lemmon and Sandy Dennis' 1970 comedy "The Out of Towners" and the Plaza Hotel, where Robert Redford and Mia Farrow filmed "The Great Gatsby."

    The tour's premiere, which coincided with Valentine's Day, was led by Joyce Randolph, who played "Trixie" in "The Honeymooners."

    "It was so funny. Because she's in her eighties, we didn't know what the reaction would be," Blau said. "But people stepped on the bus and they were so into her. It was great."

    While the appreciation for Randolph wasn't lost on Blau, she does wonder about some of the other movie trivia most requested on the tour, such as the locations in Director Nora Ephron's 1998 love story, "You've Got Mail."

    "Anything before 1990 is now considered a classic," Blau lamented. "It's kind of scary."

    More information about the tours can be found on the On Location Tours website.

    http://www.dnainfo.com/20110217/manh...#ixzz1EJKY50Cl

  9. #39
    NYC Aficionado from Oz Merry's Avatar
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    Note to Mods: Perhaps rename this thread to include TV? And move it to New York City Guide for New Yorkers?


    A Composer Is Dead, but Smiles Survive


    By THE NEW YORK TIMES



    John Strauss, composer of the theme song to “Car 54, Where Are You?” has died. Rather than a moment of silence, we propose 31 seconds of indelible catchiness, a whirlwind tour of the crime-and-mayhem news cycle of New York City circa 1961 (Khrushchev’s due at Idlewild!) and a peek inside an old-school r.m.p., all available above via the miracle of YouTube.

    http://cityroom.blogs.nytimes.com/20...miles-survive/

  10. #40
    Disgruntled Optimist lofter1's Avatar
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    How I first came to love NYC (at a very tender age )

  11. #41

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    Architect Traces Upper West Side History on the Silver Screen Updated 12 mins ago

    March 1, 2011 12:54pm Updated March 1, 2011 1:47pm


    Architect James Sanders will present images from "The Apartment," and other movies set at a lecture on the Upper West Side.

    PHOTO CREDIT Courtesy of United Artists
    Choreographer Jerome Robbins on the set of "West Side Story," which was shot in New York and Hollywood.

    By Leslie Albrecht
    DNAinfo Reporter/Producer

    UPPER WEST SIDE — In "Rosemary's Baby," it was the Dakota, in "The Apartment," it was an anonymous rowhouse and in "West Side Story" it was the tenements that Lincoln Center replaced.

    PHOTO CREDIT Courtesy of United Artists
    Jack Lemmon in the 1960 Billy Wilder film "The Apartment," set on the Upper West Side.

    PHOTO CREDIT Courtesy of Touchstone Pictures
    Gerard Depardieu and Andie McDowell in the 1990 romantic comedy "Green Card," set on the Upper West Side.

    PHOTO CREDIT Courtesy of James Sanders
    A production design sketch of a Dakota apartment from "Rosemary's Baby," which was shot at Paramount Studios in Hollywood.

    PHOTO CREDIT Courtesy of Paramount Pictures
    A bird's eye view of The Dakota from the opening shots of the 1969 horror film "Rosemary's Baby."

    PHOTO CREDIT Courtesy of United Artists
    A shot from "Street Scene" a 1931 movie about a single city block.

    PHOTO CREDIT Courtesy of United Artists
    This West 69th Street street shot from the 1960 movie "The Apartment" will be featured in a slide lecture by author James Sanders.

    Upper West Side buildings — some famous, some not — have played starring roles in some of Hollywood's most beloved movies. At a Wednesday slide lecture, architect and filmmaker James Sanders, author of "Celluloid Skyline," will trace the post-World War II history of the Upper West Side on film.
    Sanders will present 70 images from feature films set on the Upper West Side, including "Annie Hall," "Panic in Needle Park," "You've Got Mail," "Ghostbusters," and "The Squid and the Whale."

    "These films are an incredible window into understanding the city," Sanders said. "They show the city through the eyes of gifted filmmakers who see deep into the soul of the city. This will look into the soul of the Upper West Side."

    Featured in the lecture will be the 1960 Billy Wilder classic "The Apartment," starring Jack Lemmon and Shirley MacLaine. The movie's title refers to an apartment in an Upper West Side rowhouse where Lemmon's character lives. Lemmon lets his bosses use the apartment for trysts with their mistresses.

    At the time the Upper West Side had fallen into decline, and the neighborhood was somewhat seedy, Sanders said. For Wilder, the older, dark apartment was the "perfect counterpoint" to the rest of the story, which takes place in a sleek modern office that's bright and soulless, Sanders said.

    "It was one more way of saying that the bright fancy new world is just a facade," Sanders said. "To this day, it's a very haunting portrait of what it's like to live in New York if you're by yourself and don't have much money and you don’t have a partner."

    Exteriors for the movie where shot on West 69th Street.

    Tickets for the lecture, organized by preservation group Landmark West!, are $25. It's at 6 p.m. at Macaulay Honors College at City University of New York, 35 West 67th Street, 2nd Floor. Click here to buy tickets.

    Sanders will host a question and answer session and book-signing after the slide lecture.


    Last edited by brianac; March 1st, 2011 at 02:27 PM.

  12. #42

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    To me, one of my favorite movies that take place in NYC is The Warriors! Great, but underrated movie!

  13. #43
    Disgruntled Optimist lofter1's Avatar
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    Fantastic ...

    "N.Y.C." (No York City)

    A five minute film by Rick Liss.
    A portrait of New York City circa early 1980s.
    Which was an extremely fertile time creatively in New York City. This is a record of the city at that time.
    Music principally by Laurie Anderson


  14. #44

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    Wow, that's just hypnotising...! Seems easy to do, but sure it's not.

  15. #45

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    re: the photo of the exterior of the film, "The Apartment."

    This is obviously NOT the building used in the film. How unfortunate and sloppy for an architect not to recognize simple design features that make it so obvious. Mr. Sanders has just lost a great deal of credibility.

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