Bem-Vindo a Nova York

I was pleased when this film became available on Netflix and then on DVD, because I am an unconditional fan of Gérard Depardieu even though he is no longer the healthy-looking star he used to be, and also because I was convinced from day one that DSK had fallen into a trap set by his political enemies. Only two people know exactly what happened that day in his hotel room, so this is indeed a fictional version, but when Depardieu's character tells his wife that he is not guilty as accused, I for one believe him. It's watchable, and almost philosophical when he talks to his very rich wife about the sharing of wealth. And if anyone is disappointed by Depardieu's performance in this movie, I recommend director Jean Becker's delightful film "La Tête en friche" (My Afternoons with Margueritte) in which Depardieu is brilliant. Jacqueline Bisset's performance here is remarkable too.

What is this piece of work? An auteur film? A low-budged shock movie like "La Grande Bouffe" or "Baise-moi"? A porno? Whatever the case, this catastrophic film makes you wonder whether Abel Ferrara has really been directing movies for 40 years. Inconsistent characters, uneven editing and dialogue lines that are laughable at best and disturbingly weak at worst make this this movie a really painful experience, like a great romantic Austrian orchestral piece performed out of tune all the way through. The exhaustingly long and slow vampire of a film that is Welcome to New York begs the questions: has the production been rushed for some troubled reason(s)? is that why it backfires on all technical levels? did they use rehearsal footage? is that why the acting is so all over the place? There are, however, a few interesting moments here and there in the film: Depardieu's monologue towards the end of the film, the lighting reflected on Jacqueline Bisset during a quarrel in the couple's home cinema. They're only details, unfortunately, and they're not powerful enough to save the film from drowning. Abel Ferrara proves that being a "unique" artist doesn't make you a "competent" one and, most of all, that you can't always blame gaucherie on art.

"Welcome to New York" is based on the real-life scandal that involved the french diplomat Dominique Strauss-Kahn who was a member of french Socialist Party and also the Managing Director of IMF (Int. Monetary Fund) from 2007-2011 until he resigned due to allegation that he had sexually abused a hotel maid.

"Welcome to New York" presents this affair in a masterful way, that one would find it hard to get the attention off the screen even for a second. Be advised that this is not something Ferrara has done in the past during his long career. For the director this is just the first time that he elaborates a certain real life event to the last detail.

Welcome to New York proves that for Ferrara this is just the right kind of stuff that he can handle with ease with his unique talent. He has been provocative for all his carrier and this material proves to be something that can deliver without making a false step on the process.

On the other hand, Dapardieu gives one of the best performances of his carrier. He's so convincing as Deveraux that one can say he's the real man (DSK). The script doesn't exaggerate, - written by Ferrara himself and Zois (who worked previously with Ferrara in "New Rose Hotel"),- it handles the story plain and simple, in order for Ferrara to do his thing behind the camera without losing the focus from the real life story.

Undoubtedly, one of the best parts of the movie is when he (Devereaux) boards the plane, then is asked to step out and the whole police procedure begins. Depardieu feels very comfortable during this complex scenes as does Ferrara, who doesn't hesitate even for a second to show us what the real man experienced.

As the movie progresses another real life accusation is unfolded. Strauss Kahn, after the New York arrest, tried to rape a journalist. In real life this allegation happened to Strauss-Kahn who was accused for such an act and is scheduled to appear in court for trial in 2015.

Bisset plays Devereaux's wife and fulfills the other part of the story.

If you are not convinced and need more reasons to watch this or don't want to be misled and stay away from it consider the following: If you are familiar with the real life story of DSK then give it a shot, you wont be disappointed. If you are not an Abel Ferrara fan, then skip it (it will be your loss). If you want to see Depardieu on one of his best roles he has ever done in his career then watch it. He was the perfect choice for this role. If you are not a fan of movies where unpleasant situations are unraveled in details, then don't watch it.

Hope this helped!

In New York, the French director of the World Bank Mr. Devereaux (Gérard Depardieu) is a pervert and womanizer, partying and participating in gang bangs with women. When he tries to rape the hotel housekeeper in his room, the woman reports to the police. Devereaux is arrested, affecting also the life of his wife Simone (Jacqueline Bisset).

"Welcome to New York", by Abel Ferrara, is a long, uneven and inconclusive film based on the New York v. Strauss-Kahn case. The story shows the lead character Devereaux as an egocentric, pervert and sick womanizer through excessive sex scenes and his relationship with his daughter and wife. When he is released in house arrest, the screenplay is developed at a very slow pace and is boring. However the lack of conclusion is terrible. My vote is seven.

Title (Brazil): "Bem-Vindo a Nova York" ("Welcome to New York")

This film tells the story of a powerful French man in the field of economics, who is addicted to sex. He runs into trouble when he is accused of raping a hotel maid in New York.

I think the problem about "Welcome to New York" is that everyone knows the whole plot already before watching the film, so it is a challenge to keep viewers interested and surprised. Having extended sex scenes one after another may superficially do the trick, but ultimately I find "Welcome to New York" lacking in real substance. The wife, Simone, is likable and gives convincing displays of emotions. I am sympathetic towards her character. The main character, Devereaux, on the other hand, lacks that certain spark. I guess it is because his character is so egocentric and pathological that he does not show much emotions. He only sweet talk to ladies, yet he is not shown to be able to do much else. The filmmakers could have made it interesting by throwing in more courtroom drama, or more public outcry. There are loads of missed opportunities with the film to deliver a gripping and sensational story.