Liberty Heights

This movie is sort of like the concept of the TV show Seinfeld-- it's about nothing. By this I don't mean that it lacks substance, in fact, it has plenty, but I mean rather that it does not involve an intense plot line. It's more like a series of snapshots taken out of one family's album, like a brief recording of one year in their lives. It's as if these people were real, simply going about their lives in their times, and we got to peek in on them, and it is acted in just that way. I think it's very true to director Barry Levinson's vision, a vision that is clear upon viewing his other films that he includes with Liberty Heights as his "Baltimore" films. These include Diner, Avalon, and Tin Men. Because this is not the typical problem arises-conflict ensues-climax is reached-conclusion is found film, Levinson shows us that these people's lives were a series of ups and downs, joys and losses, that summarize American middle-class youth in all ages in history. There connections between the different walks of life and the idea of growing up and discovering diversity around you is what makes this film universal and beautiful, all without handing you morals and themes on a silver platter. This film takes a wonderfully objective viewpoint that allows you to make meaning of it rather than spelling it out for you.

LIBERTY HEIGHTS (LH) is a fine addition to writer/director Barry Levinson's series of nostalgic autobiographical Baltimore-set films. This episodic but heartfelt comedy-drama, set in the mid-1950s, stars Adrien Brody and Ben Foster as brothers Van and Ben Kurtzman, who come of age while grappling with anti-Semitism, their loving dad's (Joe Mantegna) shady business dealings (he runs both a burlesque house and a low-profile numbers racket. My late dad, a bookie, would've loved this guy! :-), racism (Ben and his pretty black classmate Sylvia, appealingly played by Rebekah Johnson, start seeing each other on the sly), and classism (Van falls hard for blonde WASP dream girl Dubbie, who turns out to be a nightmare -- a tragic figure, in fact -- but is capably played by supermodel Carolyn Murphy in her first and, to date, only film role that I know of). While LH isn't quite as sharp and knowing as Levinson's modern classic DINER (with which LH would make an interesting double feature; the DVD includes the DINER trailer, by the way), it's rendered with great affection and attention to detail about the characters, their world, and the changing times they're living in. For me, the wittier moments really made the film -- Ben's anarchic streak livens things up, to say the least! Best Ben moments: 1) his scandalizing his family by dressing as Hitler on Halloween; 2) the act of defiance he and his friends eventually pull at the "NO JEWS..." pool; and 3) the tender yet chaste kiss he gives Sylvia at graduation, freaking out both sets of parents. LH is worth a rental, at the very least!

This movie is challenging on many levels and best of all is it does not insult the viewer's intelligence with pat plot lines and easy resolutions. It is very much a slice of life movie and provokes serious thought about growing up and the meaning of prejudice and racial barriers. It is a lovely film and I have resolved to see some other efforts from Barry Levinson as his is a rare talent. He lovingly captures Baltimore in the fifties in all its facets of neighbourhoods, the cast is stellar, not a false note among them, the music is wonderful and all the plot lines come together. I felt sad that it was over, I found myself quite involved with the characters who were multi dimensional with teasing snippets of background as in the disturbed Dubbie saying to Van she did not like spending time with her father and his boyfriend. And Sylvia's family being black and wealthiest by far than the others and she was following her mother and grandmother into a Black College so she could preserve the continuance. 8 out of 10. Recommended.

From time to time one comes across remarkable films like Liberty Heights where simple story is told in extraordinary manner. This film is about the Jewish Kurtzman family, but we follow the father and his two sons as three separate stories. Each one of them having their own struggle and challenges to face. What struck me as the most amazing part of the story was the easiness of it, how it flowed and gently tackled serious issues in the community of that time. It portrait itself in a realistic manner, where there were no real baddies or large showdown, just people going through life. The performance of the actors was brilliant, with Joe Mantegna (the father), showing once more what a talent he is. This film won't leave anyone untouched. 8/10

this was a fine film, if not anything to blow one's hair back, leave one humming, or slipping into the dialogue. The story was set in the mid-1950s, accurately looks the part, and is actually three tales involving the three males in a middle class family.

Yes, there is the treatment of racism and the self-consciousness that it spawns on both sides, and yes, the death throes of anti-semitism (at least among decent people). A middle-aged man finds he has outlived the world in which he came to prosper, and does not know what to do. There is something else: the "grass is always greener" hypothesis in ethnic/social class mixing. One of the protagonists meets his "shiksa goddess" and her lot, longs to cross a divide he does his best to bridge -- and finds his betters have feet of clay for all their poise and social standing.

LIBERTY HEIGHTS is in the best sense a North American story. Leaving one's ghetto, the benefits of learning to do so, and creation of a better world. Note how toward the end, the flawed and even cruel W.A.S.P. society boy becomes better for having accepted the hand of friendship of someone his father might have avoided.