Sudden Manhattan

Sudden Manhattan reflects a great love of the subtle moments in life. There are no "stock" characters within this film, each subject has their own individual quirks and fetishes, and fulfills the "Lattice of Coincidence" that becomes the plot for this movie. The movie is highly entertaining and a great departure from the predictable, and boring block-busters. This film is genuine and lacks the pretense of would-be "Artsy" independent films to which we are often subjected. Adrienne Shelley (the film's writer/director/lead) has a sly sense of humor, and her love of New York and "real conversation" is palpable and hilarious. Here is a talent who finds the art in real life. Worthy of eleven, if not one hundred, stars.

Might have been made from Woody Allen's out-takes; it has the feel of one of his weaker movies. It isn't bad, exactly, but it isn't good, exactly, either. A woman who might or might not be insane might or might not be witnessing murders by a man who might or might not have multiple personality disorder. The men and women who might or might not flit into her life might or might not join her in what might or might not be an investigation. The only characters who seem to be sure of anything are the cop who calmly assures her she hasn't seen anything and the gypsy who is sure of nothing but death, destruction, and collecting for her palm reading. Very funny moments, very freaky moments, and nothing much as a whole.

This is quite a weak movie, with little focus. It's carried along mainly by its charismatic star and characteristic ethnic black humor. Adrienne Shelly, who wrote, stars, and directs, relies too much on her "cute" appeal and less on substance or content. It is what a Woody Allen film would have been if Allen were less of a genius. (I am inclined to write "if Allen had been less of a genius," since unfortunately, based on Cancel Culture, we are likely to see the end of Allen's career, also due to his advanced age).

There are "moments" in the film, esoteric dialogue, but nothing beyond that. Much of the comedy is rather strained and must have been fashionably cynical for its time. But basically it's a one-woman show. If you like her you'll stick to the end, as I did; otherwise you might lose interest one-third of the way through, as I did.

This movie was a little slow in getting to used to, very funny, but spaced zany humor, but by the time it got to the last scene with The Bearded Man in his apartment, I was falling on the floor. A serial killer of 28 people and a large Great Dane, not a cute little dog, The Bearded Man scenes are worthy of any young or early Reiner-Allen-Brooks (Mel or Albert) effort I've seen. Never to be confused with an academy award level film, it nonetheless is definitely worth a watch, and Adrienne Shelley as the actress/writer/director hits a home run and not just a triple. One of my favorite exchanges in the film is her boyfriend coming across her in disguise, as she is across the street from where she has witness two murders. "What are you doing here?" he asks. "I'm investigating," she replies. "Shouldn't you leave that to the police?" he responds. "This is New York City, Adam; you know we don't have any real police." A very well written effort by a true comedic talent.

Ive always liked Shelly in the Hal Hartly films, esp TRUST, and here she is no different. Though SM has its off moments, it is basically far more entertaining than half the full-budget crap out there. And to think that she made it herself. Her on-screen persona is more serious than she is: I love her quick retort in the bonus intro, in response to 'where she got the money to make the film' Adrienne turns to the camera, flashes an impish smile, and says: "Investment Bankers!"