Harry Plotnick seul contre tous

Here's something new: a little B/W film with no stars, about a middle-aged Jewish ex-gangster who wants to go into the catering business --AND it's not "Hollywood sit-com cute"! It's understandable that with all of that going 'against' it, no one wanted to release this film back in 1970. Luckily, director Martin Roemer never underestimated the richness of his film. Twenty years after being turned down by Hollywood, he decided to try the independent festival circuit and there, he found his audience.

The plot against Harry Plotnick is basically his own conscience and paranoia working against him. He'd left a good marriage unaware that his wife was pregnant at the time, not that it probably would have made a big difference to him back then. He was obsessed with the numbers racket, where he made a fair amount of money but ultimately spent a fair amount of time in prison, only to discover upon his release that the rackets had been taken over by various minorities. Now Harry is beginning to see the signs that it's time to make good with his conscience, with his family and with God. Not an easy feat!

This film is a wonderful glimpse into the kind of independent cinema that was around during the early seventies. It's 'early John Cassavetes meets early Woody Allen'. Unlike THE FRENCH CONNECTION or MEAN STREETS, both good films that depicted very specific worlds within Manhattan at that time, this film opens up a whole variety of worlds. Thus it steers free of cliches, no matter how deep it goes into the ethnic backgrounds of its characters. People are just people. Not all good or all bad. This film is like a breath of fresh air compared to the ultra-hip indie films of today. It's effortless, humorous, poignant, and an extremely enjoyable time capsule of the recent past.

I love the feel of Roemer's second film, between its non-professional cast and how it immersed the viewer into the streets of New York and various aspects of Jewish culture. The black and white cinematography was fantastic and probably the biggest highlight. Oh, there were some amusing moments and also pathos in the main character's situation, having just gotten out of prison but seeing others move in on his illegal businesses, and connecting to his ex-wife and adult children who don't even know him. However, while I was constantly engaged, I don't think the film went to particularly interesting places with the story, squandering at least some of its potential. I kind of wish Ben Lang had appeared in more films too, he was so charismatic as Leo, the sunny friend with a genuine smile.

If Diane Arbus made a comedy from a script by Ernest Lehman and Cliffford Odets, the result would LOOK a lot like The Plot Against Harry. This is an icy-hearted comedy with scarcely a normal-looking human being in sight. Nearly everyone is some sort of New York Jewish grotesque. And yet there are dribs and drabs of sympathetic characterization throughout, as well as a fascinating and broad sociological survey of a range of urban types. We move easily from gangster-limo to garmento fashion-show, to a heart-charity telethon where an impossibly bland crooner entertains on the improbably shoddy set of a TV studio. By the end, you're rooting for Harry, a small-time hood with the personality of a pickled whitefish. This movie is one of my all-time favorites.

I Only heard of this recently - once again thanks to my favorite NYC theater, Film Forum - and I wish I had seen it years ago. The Plot Against Harry (the title itself seems like a kind of cruel joke that could have been played on Harry, or the name of a podcast about him, like who is the plotter or ployee) is a deadpan comedy that is not shot like a documentary but is peopled like it, and is packed full of incident and (in Yiddish speak) mishegas and tsuris (sic) for one man to deal with in 80 some odd minutes.

Thankfully, Michael Roemer, who I imagine took on a herculean feat with a low budget to direct so many regular people in big celebration after big gathering scene (location work that would make Lumet's head spin), and Priest is close to perfect at looking and behaving so dejectedly and miserable in scene after scene even as you can guess he has brought some of this on himself, you can't help but feel a little bad for him... until things just get more cruel and ironic. I mean, Harry's heart (mild spoiler, it's not the heart) is the least of his worries with his ex and his estranged kids and that one guy who was probably an extra in Goodfellas, etc.

Think like, I dunno, a less visually dazzling but no less biting East Coast late 60s Coen brothers - this is up there with the most relentlessly bittersweet (mostly bitter) Jewish films I've ever seen, and I mean that as a compliment. I'm sure the Safdies studied this like a conspiracy nut with the Zapruder footage, even if this is less anxious and more doomed in how the filmmaker treats its hapless anti-hero.

The Plot Against Harry is an extraordinary, forgotten film that pops up from time to time in revival houses and late night television and is not to be missed. It's as if Scorcese did comedy - a great slice of criminal life and the true criminal mind - very reminiscent of today's "Sopranos" on HBO.