Lulú en el puente

I didn't know what to expect before viewing this film. Certainly the title gave no clues and was a bit of a turn-off. However, right from the start I found the story to be interesting. It had a lot of twists and turns that kept my interest throughout. It is one of those pictures that you are better not knowing anything, so I won't reveal any of the plot. Suffice to say this script made for enjoyable watching and I am surprised that other viewers did not rate it as highly as I did.

I saw this little gem of a film last year, forgot about it, then decided to buy it. On a second viewing I realized how much I missed the first time around. The scientific/mythical/mystical/spiritual interpretations are left up to the individual, and I found myself leaning toward the mystical/spiritual, especially when the film-within-a-film (Pandora's Box) entered the plot. While some might have felt this whole episode was irrelevant, to me it was central in a kind of a skewed way that wasn't really developed. Anyone familiar with the myth of Pandora's Box will recognize the significance of the "rock in the box" that causes lives to change in a dramatic, profound way. Izzy's state of consciousness during the film is simply a device -an interesting one- to tell a story.

Seeing Dafoe and Keitel working together again (first time since Last Temptation of Christ?) was a delight. Both are capable of a tremendous range, but chose restraint in this film, and it worked. The interogation scenes in the warehouse were mesmerizing. I love this film!

This movie is really quite amazing. It is definitely not your typical hollywood storyline, so you have to be pretty open-minded. With this film, Auster was able to conjure up some very deep emotions, but it is very abstract. You might have to watch it twice to get more out of it. I have seen many parallels between this and his novels, so if you enjoyed this movie, try reading City of Glass.

Lulu On The Bridge is an odd one, and that's a compliment. It subtly strains at the constrictions of genre until you realize just how unique it has gotten right under your nose. I've always thought of it as the Abel Ferrara fiom that he never made. Harvey Keitel delivers a home run of a lead performance as Izzy Maurer, a renowned jazz musician who loses his ability to play after he is shot by a lunatic gunman (Kevin Corrigan) while he is performing his music in a cafe. He sinks into a deep depression following the incident, and then something curious happens. One day he finds a mysterious stone, with a phone number attached to it and some seemingly supernatural qualities which alter the psyche, mood and perception of anyone in its vicinity. The phone number leads him to Celia Burns (the ever excellent and under estimated Mira Sorvino), an aspiring actress who's fallen just south of the success line, and has a taste for Izzy's music. The two seem destined to meet and as you might guess, begin a passionate love affair that begins to get a bit obsessive, with strong hints directed towards the stone that seems to govern will and volition. Their romance is hot, heavy and volatile, threatened when a mysterious man named Dr. Can Horn (a classy but dangerous Willem Dafoe) separately kidnaps them in attempt to retrieve the stone. The script deliberately shades over its true intentions until the very last minute, stopping to pick many dialogue and thematic flowers along the way, as well as leave a few red herrings behind. Gina Gershon is great as Izzy's ex wife, and the monumantal supporting cast also includes Richard Edson, the great Victor Argo, Harold Perrineau, Mandy Patinkin, Vanessa Redgrave and a brief Lou Reed who is pricelessly credited as 'Not Lou Reed'. If you snag a DVD you can also see deleted scenes work from Stockard Channing, Jared Harris, Josef Sommer and Giancarlo Esposito. The film attempts music, mystery, doomed love, urban mysticism, thriller and drama elements. I'm happy to report that it succeeds at all of them, a gem not unlike the mcguffin stone within the plot, and a haunting little modern fairy tale. Check it out.

Some authors, as is the case with Paul Auster, can involve a reader with a novel. Mr. Auster, with a few exceptions, has produced a body of work that will be his legacy. Alas, this is not going to be the case of his directorial career. Like Julian Schnabel, a painter turned film director, Paul Auster seems to be a logical candidate for bringing his stories to the screen, but as proved by this effort, one hopes he keeps his day time job.

The large, talented cast of "Lulu on the Bridge" can't overcome some of the problems the film presents. The mixture of a thriller with esoterica sounds like an intriguing idea for a film, but as one witness the movie unfolds it's clear these elements don't mix well together under the director's guidance with the screen play he wrote. The film has moments in which it transcends and shows a promise of working, but in the end, it's too contrived for its own good.

Even an intense performer like Harvey Keitel is bogged down by a character that doesn't awake much interest in the viewer. Mira Sorvino is, in our humble opinion, terribly miscast. There is no chemistry between the two main characters. William Dafoe, Victor Argo, Vanessa Redgrave, Lou Reed, Gina Gershon are seen in minor roles.