Lulu on the Bridge

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 didn't know what to expect before viewing this film. Certainly the title gave no clues and was a bit of a turn-off. However, right from the start I found the story to be interesting. It had a lot of twists and turns that kept my interest throughout. It is one of those pictures that you are better not knowing anything, so I won't reveal any of the plot. Suffice to say this script made for enjoyable watching and I am surprised that other viewers did not rate it as highly as I did.

Like many of New York City waitresses, Celia Burns is an aspiring actress. Izzy Maurer, a jazz saxophonist recovering from a gunshot wound, contacts her after finding her name along with a stone having magical properties, one of which propels them into a love affair. Through her talent, and friends of Izzy's ex-wife, Celia is able to land the part of Lulu, one which most actresses could only dream of. Izzy is held captive and Celia chased by a mysterious man claiming to have a doctorate in anthropology who wants the magical stone. It is only at the film's end that the discerning viewer understands what has really transpired. The all star cast does not disappoint.

Lulu On The Bridge is an odd one, and that's a compliment. It subtly strains at the constrictions of genre until you realize just how unique it has gotten right under your nose. I've always thought of it as the Abel Ferrara fiom that he never made. Harvey Keitel delivers a home run of a lead performance as Izzy Maurer, a renowned jazz musician who loses his ability to play after he is shot by a lunatic gunman (Kevin Corrigan) while he is performing his music in a cafe. He sinks into a deep depression following the incident, and then something curious happens. One day he finds a mysterious stone, with a phone number attached to it and some seemingly supernatural qualities which alter the psyche, mood and perception of anyone in its vicinity. The phone number leads him to Celia Burns (the ever excellent and under estimated Mira Sorvino), an aspiring actress who's fallen just south of the success line, and has a taste for Izzy's music. The two seem destined to meet and as you might guess, begin a passionate love affair that begins to get a bit obsessive, with strong hints directed towards the stone that seems to govern will and volition. Their romance is hot, heavy and volatile, threatened when a mysterious man named Dr. Can Horn (a classy but dangerous Willem Dafoe) separately kidnaps them in attempt to retrieve the stone. The script deliberately shades over its true intentions until the very last minute, stopping to pick many dialogue and thematic flowers along the way, as well as leave a few red herrings behind. Gina Gershon is great as Izzy's ex wife, and the monumantal supporting cast also includes Richard Edson, the great Victor Argo, Harold Perrineau, Mandy Patinkin, Vanessa Redgrave and a brief Lou Reed who is pricelessly credited as 'Not Lou Reed'. If you snag a DVD you can also see deleted scenes work from Stockard Channing, Jared Harris, Josef Sommer and Giancarlo Esposito. The film attempts music, mystery, doomed love, urban mysticism, thriller and drama elements. I'm happy to report that it succeeds at all of them, a gem not unlike the mcguffin stone within the plot, and a haunting little modern fairy tale. Check it out.