Enigma do Poder

After reading a number of reviews at imdb--and elsewhere--I have to come-down-on-the-side of the director, Abel Ferrera's

vision. This is a GREAT science-fiction film, and for those who are

generally-disappointed with it, I have to ask whether they

understand what sci-fi IS. If science-fiction isn't about the present

(as-filtered through an imagined-future), it generally isn't good, but

New Rose Hotel fits this criteria. This is a pretty-old story from the

80s that Gibson had published in "Omni Magazine," it might-have

been his first-acceptance. While it is a minor-story, it has

dramatic-elements to it that are very-pleasing within-the-structure

of the "Ferrera" universe: a metropolitan-dystopia, urban and

moral-decay, the eternal quest by many for "power," official- corruption, the consequences of murder, sexuality, drugs, how

memory works, they all mesh-well with Ferrera's thematic-styles.

There are no great moral-lessons here, this is about the aftermath

of that paradigm. The only-complaint I have is that the future has

caught-up a bit, due to the age of the original-story. With our

human-society growing more-restrictive, with the rise of corporate- statism, and the subsequent-decline of the Nation State, New

Rose Hotel seems almost "quaint." That should give-us-pause.

Abel Ferrara found himself in a MacGyver situation: to improvise a cyberpunk film with a) several very good actors, b) a camcorder, c) an impressive but extremely short and sketchy story by William Gibson, d) futuristic props consisting entirely of a PDA (google it, kids) and a half-bitten circuit board, and e) $600 bucks for expenses.

This is all conjecture on my part, based on nothing more than having seen New Rose Hotel. Can you blame me? After hacking off all the stylistic coir, the story is as such: it's the Future. The most profitable form of industrial espionage is stealing human talent. Two threadbare hijack artists, played by Walken and Dafoe, will lure a brilliant scientist named Hiroshi from Evil Megacorp to Mega Evilcorp. They will use a magnetic temptress that they pick from a squirming Shinjuku flesh pit based on her skill at fellating a karaoke mic.

Asia Argento is the girl – the actress has, the rarity of rarities! not only sex appeal but enough charisma and acting ability to work the part. Unfortunately, the singing is bad, and the songs are bad, and the sexy bar where they are performed is not very sexy at all. While we're at it, the future is not all that futuristic. The sex, of which there is plenty, is made up of cuts, quick pans and motion blur. The seduction and abduction of Hiroshi is talked about exhaustively, but would have been pedestrian even if it didn't entirely take place off-camera.

In brief, the amount of abstraction and suspension required to enjoy – if I may use such a bold term – "New Rose Hotel" hangs some serious lifting on the viewer. Discounting the bland nudity, the only distinct pleasure is watching Christopher Walken's line delivery. The one other actor who gets to do anything of note is his partner in crime, Willem Dafoe; unfortunately, his arc comes down to getting warned severely against falling in love with Argento's character, then falling in love with her like a man taking a headfirst dive on a concrete slab.

Some people have called this movie confusing, but they are dumb. The plot is crystal clear. It's simple as a triangle. Others have called it a boring, flickering mess, which is a much harder charge to beat. You know those "reveal" montages where the main character figures out the horrible secret? They're all made up the same way, with ominous music getting louder in the background, snippets of flashback picked half-second at a time from various parts of the movie, and key lines of dialogue played over and over, with an echo effect added on top.

The entire movie plays like one of those. A relatively simple story is packed inside a fifteen-layered rebus of headache, eyestrain and tinnitus as you squint to figure out what's on screen. If this is how the regular narrative plays, then as a parting fillip, the entire last half hour of the movie is made up of an actual flashback montage as one of the characters, soon to be found and killed by his enemies, is reliving past mistakes and pleasures in a dinky hotel room.

Some have complained about this sequence because it goes on for about 20 minutes after even the densest of us have figured out every plot secret. I think they're missing the point – the scene isn't a reveal, but the fevered, looping memories of a man who's about to kick off the chair. As such, it has a good deal of pathos. However, in the end, it's not really all that interesting, good-looking or original. And way, way too long.

The central question of New Rose Hotel is as follows: is there any reason at all to watch this dizzy 90-minute montage, when you could read the original short story in 15 minutes? None, actually. Unless you are enough of a stim addict to prefer watching any sort of dull video to reading any kind of engaging prose.

Has any living director created a body of work as unpredictable and frustrating as Abel Ferrara?! 'New Rose Hotel' is another wildly uneven movie from the man who gave us the brilliant 'Bad Lieutenant', one of the greatest movies of the last 15 years, a modern masterpiece greatly admired by Martin Scorsese. The original short story of 'New Rose Hotel' by William Gibson was heavy on atmosphere and mood, and not that heavy on plot. The movie is even more so. A very good story but good material for a film? I don't think so. To make matters worse it's obvious the money ran out before production ended, hence the repetitive flashbacks/recycled footage of the last twenty minutes or so of the movie, something which all but ruins what preceded it. However, I can't dismiss the movie completely because you get to see two of the finest living actors working together. Willem Dafoe, and in his fourth collaboration with Ferrara, Christopher Walken are first rate even if the finished film isn't. Plus there's a great supporting cast, testament to the respect Ferrara has among the acting community - Asia Argento ('Scarlet Diva'), Annabella Sciorra, Victor Argo and Gretchen Moll, who all appeared alongside Walken in Ferrara's 'The Funeral' (a very underrated movie!), and musician/actors John Lurie (The Lounge Lizards/'Down By Law') and Sakamoto (Yellow Magic Orchestra/'Merry Christmas, Mr Lawrence'). If you are a newcomer to Ferrara's work I suggest beginning with something a bit more accessible like 'King Of New York', not with this one. I was greatly disappointed by this movie, and if I wasn't such a big fan of Ferrara, Walken, Dafoe and Argo I would say don't bother.

This is a decent Abel Ferrara movie,with Walken turning in another memorable performance.I figure any movie with Walken's name listed in the credits first is worth watching.It did feel like the most important scenes were not filmed, and the rehashing of earlier scenes in the third act is really tedious. Overall, I think this movie would have been great with a bigger budget, but as it stands, I'd only recommend this to Walken fans.

This movie seem to go all out for the ambience of what it could be like in the near future, giving us a look of the cold and bleak world that is set out for us. It doesn't quite succeed like in Blade Runner, probably due to its small budget, limited settings, which were mostly indoors, but it gave it a good run for the money.

On the plot side, I think it might have been better if the flashback method of the original story were used. This will avoid the replay of the first 2/3 of the film onto the final 1/3. Plus it would have also lead us to see how X (William Dafoe), being a person who frequents high caliber hotels all over the world, ended up in a porta-crypt.

Also, there seem to be too many ambiguous plot lines or cues that's either meaningless or completely open to interpretation. What's the significance of the tattoo on Sandii's (Asia Argento) belly? Was her deception both ways toward X? If it was, it was not implied at the end.

Christopher Walken, William Dafeo were both good in the film, with Walken putting his quirky improvisations to his character and Dafeo serious and troubled as usual. The surprise was Asia Argento, who's sultry performance proves that not all non English speaking actresses has to act as if they are reading lines like the way Penelope Cruz does.

Overall, a satisfactory film, giving a good visual and feel, but not dense enough in plot to make complete sense or to fill out the 90 minutes the movie takes.