Lulu on the Bridge

This is mainly a two-actor film with Harvey Keitel playing a low-key (at least for him!) character and Mia Sorvino playing his young girlfriend. They dominate the story.

In an odd way, this is an interesting film although a bit "soapy" in parts for my tastes. It has a bit of a mystifying element with this strange stone as part of the story, yet they don't elaborate on it. Actually, this is more of a romance story....but at leaves a number of questions. One doesn't quite figure out Willem Dafoe's character is in here and the ending was very strange and not altogether satisfying, either. Perhaps another look or two would have been a better option before writing this. I haven't read any reviews but I suspect people really got into this film and liked it or were bored to death. Actually, I was somewhere in the middle. I was more interested in the cinematography.

Note: "Lulu" is named for a character played by silent screen star Louise Brooks.

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.

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.

I see that opinions for Lulu are either 'I loved it' or 'I hated it.' There's a good reason. This is a very different film, with spiritual and other-worldly overtones -- it's definitely spooky. I could not have imagined where the story finally ended up, but it requires a lot of imagination to understand it (think, "Where does the mind go when it loses consciousness? And, what is the real meaning of 'time'?"). If you don't like it, that's fine -- maybe you just don't get it. Nothing wrong with that -- it's pretty deep. But for me, it's a form of pure entertainment that I cannot find anywhere else. I loved it. I bought a copy on DVD. I tell my friends about it. The ending is a definite surprise, but there are lots of other surprises throughout. Why not find out for yourself?

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!