New York Stories

I have viewed the "Life Lessons" segment of New York Stories probably 80 times. I use the film religiously in my college writing classes.

The assignment I give my students is to define art for Lionel, for Paulette, and for themselves. After some analysis, students realize that a big problem between Lionel and Paulette is that they view art differently. Paulette constantly needs external validation ("Can you tell me if I'm any good or not") while for Lionel art is a compulsion - his life and art feed off each other. Students who are able to get past Lionel's somewhat dysfunctional personality are able to understand and discuss some very important concepts about what it is to be an artist.

I would highly recommend "Life Lessons" to anyone teaching art, aesthetics, writing, or theater classes. It's a great way to initiate a discussion about art.

Life Lessons - I've probably seen it 10 times. You can refer to it as a 'short', but I get so wrapped up in it that I almost consider it to be a full-length movie. It's very close to perfect.

Life Without Zoe - Past comments have stated that this is the weakest of the three. I don't like to think of any of the stories as weak. I think the order of the stories is what is important. First is the tense art world drama, then the fairytale-like Zoe. Zoe doesn't have the punch of Life Lessons, but it's a relaxing follow-up. Enchanted flutes, princesses, sheiks, diamonds, parties, sunsets. I hate to use the word 'cute', but that's what it is - very cute, and that's not a bad thing in this case.

Oedipus Wrecks - Leaves the movie ending on a very outrageous and very funny note. This short is better than several of his movies (and I'm a HUGE Woody Allen fan).

Three 40 minutes short films by three of the greatest American directors; Scorsese, Coppola and Allen. I personally like Scorsese's introducing segment the most, Life Lesson. Even if I personally is not a fan of Nick Nolte, the movie has depth and it's just as good as you would expect from a director like Scorsese. Unlike many other directors, Scorsese manages to capture sexual attraction, in this case felt by the main character (Nolte). Freshly photographed and good ending that makes you recall upon your own life. Not a masterpiece but indeed great.

Coppola's segment "Zoe" is a total disaster. It is beautifully filmed, but the acting and the story is far below good. Better fit for the children's hour on TV. I don't know if the story was supposed to be ironical, a satire of spoiled extremely rich kids on Manhattan, which could be the fact since there were some scenes where the young girl interacts with a homeless man. That could have been a good theme, if it was Coppola's intention, but no matter the case - it just don't work. It is silly and it doesn't feel satirical at all. Another idea is that it was supposed to be funny, a short comedy, however, neither does it work on that layer. It somewhat makes me lose my respect for the director.

Woody Allen's part however is a pleasant refresher after Coppola's borer. Very funny, typical Allen, good acting from Allen's side and good music.

Overall rating is a mere 6, dragged down by Coppola. Without his segment I would rate this movie an 8.

"Life Lessons"

Nick Nolte plays a Leroy Neimann-style artist living in a New York City Loft and he picks up Arquette promising her "life lessons" Basically, he uses her and spits her out, but there's more to it than just that. Scorcese is his usual brilliant self and Nolte is in a perfectly realized part. Brilliant, though apparently many people didn't think so because they probably can't handle Martin Scorcese's tough style.

The Coppola segment.

The less said about this, the better. I would rather have brain surgery without an anesthetic than see this again.

"Oedipus Wrecks"

The "funny" Woody Allen returns. This is as reminiscent of the best of Allen's "funny films" as it is of his beautifully constructed New Yorker short stories. Mae Questel (the senile grandmother in "National Lampoon's Christmas Vacation" and the voice of Betty Boop and Olive Oyl) is his overbearing Jewish mother and him and to tell you anymore about it would ruin the exquisite comic writing and pacing for you. Needless to say, it is a wonderful comic fantasy wrapped in a witty, almost Freudian comic treatise. In other words, vintage Woody!

Thank God for video and DVD for you can bypass the painful parts like that rotten Coppola segment. I only wish I had that had that option when I saw this in its original theatrical run.

And to think that Sofia went on to continue to annoy people on the Silver Screen. For me, her talent is clearly lost in translation.

I'll step out of the loop here about "New York Stories," three tales of New York from 1989, directed by three formidable directors: Martin Scorcese, Francis Ford Coppola, and Woody Allen.

I happen to think all three films had something to offer, and the fact that the Zoe sequence is about a child does not for me make it the weakest segment.

I found the Scorcese segment starring Nick Nolte and Roseanna Arquette the most thought-provoking, the Zoe segment the most charming, and the Allen segment the wackiest.

The first episode is about a tortured artist (Nolte) who expresses his sexual frustrations and problems with his young protégée (Arquette) in his work. She no longer sleeps with him and wants to quit New York and go home; he wants to kiss her foot and professes undying love for her.

To Puccini's Nessun Dorma, he stares at his artwork and goes through a variety of emotions as he paints another masterpiece. This particular muse in the form of Arquette is used up; one sees him at his art show connecting with another would-be artist/muse whose identity will also be lost in his genius.

The second sequence, directed by Coppola, is a take-off on the Eloise stories by Kay Thompson. This little girl's name is Zoe. Her father, Claudio Montez (Giancarlo Giannini), is a famous flautist who travels, and her mother (Talia Shire) is a photo journalist who travels. Zoe lives with a butler and her dog Vegas at the Sherry Netherlands Hotel. She proves herself smarter than either parent in this charming film.

My only question is why Giancarlo Giannini speaks Italian to his daughter when the name Claudio Montez is emphatically not Italian. Okay, it wasn't typical Coppola, but who said it had to be?

The last one is pure Woody, Oedipus Wrecks, about a man with a nagging, critical mother who wants to marry a young woman (Mia Farrow) with children. He loves his mother, but he wishes she'd disappear.

During a magic show, he gets his wish, when his mother goes into a magician's box and never comes out. Later she shows up in the sky telling him what to do, with the world as a witness. His girlfriend can't take it. He then goes to a psychic (Julie Kavner) who makes him a boiled chicken dinner. A complete delight.

Three different, interesting stories by three great directors.