By Murray Pomerance, Wheeler Winston Dixon, Barry Keith Grant, Aaron Baker, Gwendolyn Audrey Foster, Paula J. Massood, Steven Alan Carr, Joe McElhaney, William Rothman, David Sterritt, David Gerstner, Randy Thom, Elizabeth Weis, Scott Bukatman, Pamela Grace,
Manhattan, greater than the other urban, has held a unique fascination for filmmakers and audience. In each decade of Hollywood filmmaking, artists of the reveal have fixated upon this interesting position for its tensions and grants, fantastic illumination and fearsome darkness.
The glittering skyscrapers of such motion pictures as in town have shadowed the attribute seedy streets during which determined, passionate tales have performed out--as in Scandal Sheet and The Pawnbroker. In different movies, the town is a cauldron of shiny lighting, know-how, empire, egotism, worry, starvation, and change--the scenic epitome of the USA within the sleek age.
From road Scene and Breakfast at Tiffany's to Rosemary's child, The Warriors, and twenty fifth Hour, the 16 essays during this e-book discover the cinematic illustration of recent York as a urban of expertise, as a locus of ideographic characters and areas, as a urban of strikes and traps, and as a website of allurement and threat. individuals ponder the paintings of Woody Allen, Blake Edwards, Alfred Hitchcock, Gregory los angeles Cava, Spike Lee, Sidney Lumet, Vincente Minnelli, Roman Polanski, Martin Scorsese, Andy Warhol, and various others.
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Extra resources for City That Never Sleeps: New York and the Filmic Imagination
Sample text
The poor guy is so bedazzled that Ivy can’t bring herself to tell him that being Miss Turnstiles isn’t that big a deal. But it’s also her fantasy of herself; it’s not so easy to deny what he thinks he’s found in her. With Gabey and Ivy the film version goes completely off the rails. Ivy realizes that they’re both from the same small town, had the same history teacher, whatever. ” Some of the new songs by Comden, Green, and Edens offer dumbed-down versions of the originals, but “Main Street” demonstrates more than MGM’s inability to “get it”; it clearly indicates that they didn’t want it.
Its ending indicates that they will survive because they have abandoned their compromised lifestyle for a middle-class one. Paul leaves his rich benefactress, begins publishing his fiction again, and gets a job. When Holly’s role as a gangster’s courier is exposed, the ensuing, highly publicized scandal dooms her career as a social escort as well as her hopes for a quick marriage to a fabulously wealthy man. In addition, her recent trauma of learning about the accidental death of her brother makes her receptive to the value of Paul’s love for her, and the film ends with them in a romantic embrace, in an alley far removed from the glitz and glamour of Fifth Avenue.
It becomes a virtual synecdoche for the entire city of New York: ranging from Tiffany’s to the Fifth Avenue Branch of the New York Public Library. ” Within this notion of New York City and the centrality of Fifth Avenue, the film’s use of the Central Park band shell raises a profound insight into modern urban life. The scene in question breaks markedly in tone with the rest of the film. ” Determined to uncover the man’s identity, he leaves the apartment and walks toward Central Park to see if the man will follow him.