Lulu on the Bridge

I saw this little gem of a film last year, forgot about it, then decided to buy it. On a second viewing I realized how much I missed the first time around. The scientific/mythical/mystical/spiritual interpretations are left up to the individual, and I found myself leaning toward the mystical/spiritual, especially when the film-within-a-film (Pandora's Box) entered the plot. While some might have felt this whole episode was irrelevant, to me it was central in a kind of a skewed way that wasn't really developed. Anyone familiar with the myth of Pandora's Box will recognize the significance of the "rock in the box" that causes lives to change in a dramatic, profound way. Izzy's state of consciousness during the film is simply a device -an interesting one- to tell a story.

Seeing Dafoe and Keitel working together again (first time since Last Temptation of Christ?) was a delight. Both are capable of a tremendous range, but chose restraint in this film, and it worked. The interogation scenes in the warehouse were mesmerizing. I love this film!

Some authors, as is the case with Paul Auster, can involve a reader with a novel. Mr. Auster, with a few exceptions, has produced a body of work that will be his legacy. Alas, this is not going to be the case of his directorial career. Like Julian Schnabel, a painter turned film director, Paul Auster seems to be a logical candidate for bringing his stories to the screen, but as proved by this effort, one hopes he keeps his day time job.

The large, talented cast of "Lulu on the Bridge" can't overcome some of the problems the film presents. The mixture of a thriller with esoterica sounds like an intriguing idea for a film, but as one witness the movie unfolds it's clear these elements don't mix well together under the director's guidance with the screen play he wrote. The film has moments in which it transcends and shows a promise of working, but in the end, it's too contrived for its own good.

Even an intense performer like Harvey Keitel is bogged down by a character that doesn't awake much interest in the viewer. Mira Sorvino is, in our humble opinion, terribly miscast. There is no chemistry between the two main characters. William Dafoe, Victor Argo, Vanessa Redgrave, Lou Reed, Gina Gershon are seen in minor roles.

This movie is an original - a gem. Fifteen minutes after it was over I began weeping - I was so touched. It is never too late. One can lead a rotten life, but there is always hope - even in the strangest of times - to find love and to become a person worthy of being loved in return. To provide more details would undermine the movie's original theme. Indeed, the description on this web page is not at all what the film is really about. I don't know why the ratings aren't higher. Perhaps the movie is lost on impatient souls who need lots of action to keep their attention intact.

Lulu, as I prefer to call it, is a sentimental, yet mysterious movie. One has to feel that this is Auster in a nutshell, covering humans dark sides as well as their fabulous way of finding meaning. Auster has done a good job when it comes to the actors and actresses, they are perfect. The soundtrack is perhaps the factor that makes the darkness of the movie even more conclusive. Whenever the CD is out, I have to buy it! Overall, Auster did a pretty good job with Lulu. Recommended, also for non -Auster fans.

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.