Esclaves de New York

I LOVED the book....and come on, piecing together the book into any sort of coherent film couldn't have been the easiest endeavour, and the result really isn't so bad! Looking back on this film 11 years later it truly DOES seem to capture the time and place effectively and has what amount to basically cameos of Stanley Tucci, Steve Buscemi, and Mercedes Ruehl.

It can't be easy to bring a Tama Janowitz novel to the screen. Her characters are strange and chronically flawed. Her plots progress like real life -- loosely, with lots of extraneous details and false starts -- yet contain a lot of wacky situations which we have trouble relating to reality (until we really think about it, and realize it's weird because it REALLY HAPPENS, everyday). I love her sense of humour and her style of writing, especially since her novels don't follow a traditional form of plot development.

That said, this movie could have been better. I don't think that the split-screen presentation of different scenes works at all, and many of the actors don't seem to understand why they're uttering the lines -- I don't think they "get it." Adam Coleman Howard (Stash) struggles valiantly, but always seems one step behind his character. Madeleine Potter (Daria) isn't very convincing either. Bruce Peter Young (Mikell) looks by turns bored and baffled. And -- perhaps the biggest injustice of all -- the knight in shining armour at the end is a terrible actor; instead of being happy and hopeful at the emergence -- finally! -- of a single genuine person in Eleanor's life, I couldn't get beyond his wooden delivery.

Everyone else is great, however. Bernadette Peters seems tailor-made to star in a Janowitz adaptation, as do many of the other oddball characters (Wilfredo, Mooshka, Samantha, the Japanese film crew). Things pick up in the second half, and it certainly gets funnier as it goes along...Eleanor mentions a dream she had the other night about a baby with long arms and legs like a chimpanzee, "but it was cute." The party (and the blender) is a blast. After so long in more-or-less quiet neutral, the last half hour kicks into gear.

Some people mentioned, "how could Eleanor put up with Stash?" Well, look around, sadly...there are lots of Eleanors and lots of Stash's (people who are "abridged" like their "tentacles have been cut off at the wrist"). As for the odd artsy SoHo characters...compare this film to "Mondo New York" and see that, if anything, Janowitz has missed out on a few bizarre and self-indulgent art types.

Don't expect to be on the edge of your seat when you watch this one. Just sit back, enjoy, and take it for what it is: an expose on the New York art world in the 80's, and an examination of one woman attempting to deal with a city full of shallow, uncaring, jealous and stupid people.

Following all the Merchant-Ivory productions in the past, where it took place mainly in Victorian England, those were all ensemble movies, with Helena Bonham Carter at the center of it all. Bernadette Peters could be considered a contemporary version of Bonham Carter's characters. Being that these hapless characters are caught in the middle leading their daily lives with eccentric characters around them. I enjoyed over the years watching this film for several reasons, first one the artwork that is featured in it, next is the music, another this could have been a good lead in for a television series(not the big reason, but part of it. The characters play well off each other, and also gives that feeling of six degrees of separation. I've read the book and it would be hard to film it since it was a collection of short stories, however Merchant-Ivory pulled it off.

This over-long look at New York's art scene in the 1980 is based on a book of short stories by Tama Janowitz. Like the stories, this film has lots of characters and a meandering plot that basically follows Eleanor (Bernadette Peters) through her life of being a New York "slave" (a person who lives with a person who owns the house or has the lease for the apartment), designing weird hats, looking for love, and the endless whirl of parties, art openings, and friends.

Peters lives with an artist named Stash (Adam Coleman Howard)who is self-absorbed and unpleasant. Stash latches onto wealthy Daria (Madeleine Potter) who is a would-be artist but is too wealthy to really care. They run in the same circle as Marley (Jsu Garcia billed as Nick Corri) who paints but who really wants to start a church in Rome. His agent (Mary Beth Hurt) puts him in touch with a wealthy nutjob (John Harkins) who finances all sorts of weird "art" projects such as the guy in Montana who moves mud from one end of the garden to the other.

The plot follows Peters but also exposes the incredible arrogance of art as well as its cyclic trendiness. What is art? Who knows.

Co-stars in the film include Stanley Tucci, Tammy Grimes, Christine Dunford, Tama Janowita (as Abby), Steve Buscemi, Betty Comden, Chris Sarandon, Mercedes Ruehl, Michael Schoeffling, Bruce Peter Young, Louis Guss, Anthony LaPaglia, and Charles McCaughan as Sherman.

There's a brilliant and very funny interlude as three drag queens with a boom box and dressed in skin-tight red gowns parade down the street as the Supremes lip-syncing to "Love Is Like an Itching in My Heart." The sequence is just another look at fun and silliness of performance art.

When I saw this movie, I thought it was surreal. Then I moved to New York and realized that it was just being honest. The movie takes place against the colorful (sometimes to a ridiculous extent) new york artist scene. I never read the book, so I don't really know (or care) if the movie was true to it or not, but I thought that all the characters were well developed and gave some hilarious performances. The plot flowed seamlessly and by the end you know that, despite the fact that little of what you saw made much sense, there is some strange order to the world and that it's all good. I find myself recommending this movie to all my friends as I would recommend it to anyone interested in New York, art, or the simultaneous crappiness and lovableness of humanity.