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.

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.

This movie is a gem. In plot, scripting, acting and direction, there is wit and verisimilitude. It's a favorite of mine that deserves to be more widely known.

The 'hero' is a small time numbers runner who returns home after a stretch in prison to find lots of changes on the 'job' and at home. His life becomes more and more complicated as he copes with his new life. There's a clever ending.

I give it 'only' 9 of 10 only because it's not 'a 100 best of all time' film. Still, it's one of my favorites. I saw it once on its release, and spent a lot of time tracking it down for a second view. The effort was worth it.

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.

The Plot Against Harry is about a smalltime Jewish mobster who is released from prison and realizes his numbers racket has mostly fallen apart in his absence. Most of his crew has abandoned him to work for other local thugs, except for his loyal but often inept driver. At first he tries to regain control and call in a few favors, but it becomes more and more clear his time on the streets is up. Harry starts casting about for something else and maybe going legit, and his ex-brother-in-law convinces him to buy a Jewish event hall and catering business. It's through seeing the various Jewish ceremonies - weddings, bar mitzvahs, even a circumcision, that Harry starts to feel more connected with the Jewish community.

Meanwhile, he tries to reconnect on some level with his ex-wife, as well as the children he never really knew, none of whom want anything to do with him. There's a sense they're all politely trying to avoid each other but can't stop bumping into one another, once even literally, as he runs into their car. He somewhat reminds me of Gene Hackman's character in The Royal Tenenbaums, and I wouldn't be surprised if that film took inspiration from this one.

Harry is then informed he has an "enlarged heart" and isn't sure just how much longer he has to live, accelerating his desire for redemption. But getting on the straight and narrow has a lot of twists and turns.

To describe this film to a modern viewer, it has a wryness not unlike some Coen Bros films like Fargo or Burn After Reading, in that it takes a close look at the mundane and everyday, and finds humor and a story worth telling. There's occasionally also some Wes Anderson elements of charming and surreal set pieces and characters. Yet it must be said, this film is far more understated than any Coen Bros or Wes Anderson film. Additionally, as it's an indie film with some rough edges, it's not always obvious what we're supposed to take from each scene, but that's also part of its charm. All of this added up to a film that struggled to find an audience in 1969, but did lead to some indie success when it was released two decades later.

Comparisons aside, The Plot Against Harry is a good film but not a great one. It gets a bit too much praise because critics and film buffs just love when a film like this surfaces and offers something fresh, which it legitimately was in 1989. With the passage of time it takes on some period charm as well with a sweet and sentimental look at Jewish life in the late '60s.

It's hard to point to any one particular thing The Plot Against Harry really excels at but likewise it never drags and the sum of the parts kept me watching and rooting for Harry till the end.