Adrift in Manhattan

Although I usually find interest in interwoven character story lines from films such as Crash or Magnolia or Babel, I couldn't get my interests up for this one.

Now I'm not here to complain that the movie lacked explosions, action or a whole lot of plot twists - it doesn't attempt to be that kind of movie. The few plot driven elements are rather scarce and are mostly there to drive forward the characters rather then the story. The story itself is never the planned focus anyhow. It is my appreciation that some attention to have a more involving plot would have done the work a service.

In terms of execution (acting, directing) the effort is certainly solid although never really stellar : you won't find anything really worthy of seeing the movie on it's own. The problem therefore is the very blueprint on which the execution rests, and as I pointed earlier, the material given is too dry to make the movie a memorable one.

There just isn't enough happening here to make this one worth the look. Nothing much was achieved, and the journey alone wasn't exactly thought provoking nor entertaining. It isn't awful mind you, just very forgettable.

**SPOILERS*** Originally called "1/9" or the NYC Seventh Avenue subway line that runs the length of Manhattan Island and ends at the tip of The Battery "Adrift in Manhattan" connects three lonely people who live along its route.

20 year old camera store worker Simon Colon, Victor Rasuk, is obsessed in photographing people on the streets, as well as subways, of New York. One day Simon comes across this lady sitting in the park and becomes infatuated with her multi-colored, or rainbow, scarf.The lady in question Rose Phipps, Heather Graham, becomes very agitated, and even frightened, when Simon mails a number of photos he took of her at her brownstone.

We never quite get what Simon's reasons for mailing his secretly taken photos of Rose were but it almost gets him fired from his job. Instead Rose soon becomes almost as infatuated with Simon as he's with her to the point of inviting him into her home and, to Simon's utter surprise and delight, forces him, a virgin, to make love to her!

Like Simon we soon find out that Rose is not all there, emotionally, in that she's estranged from his husband high school teacher Mark, William Baldwin, and is suffering from a deep depression in the tragic loss of her and Mark's two year-old son Casey, Leim De Villa. Rose's sexual relationship with Simon soon starts to effect her work as an eye doctor in her treating a patient of her's the refined elderly and cultured gentleman Tommaso Pensara, Dominic Chianese.

Tommaso is slowly losing his sight and in him loving to paint that's as well has him receiving a slow and painful death sentence. Tommaso is also in danger of losing his job in the mail room in that he can't see the letters and packages in order to correctly distribute them. It's Tommaso's co-worker Isabel Parades, Elizabeth Pena, who not only takes the time to help him out at his job but cover up all his mistakes. Isabel also falls in love with the some 75 year old bachelor who for the first time in years feel that he's wanted for himself not his talents; in his music and his art.

All three main characters, Rose Simon and Tommaso, in the movie interconnect with each other due to their proximity to the 1/9 subway line. And it's that very reason that makes their lonely and desperate lives, who are aimlessly adrift in Manhattan, that much more worth living!

Had potential, but falls short of being profound, emotional or interesting. Some nice moments but that's about it.

I enjoyed the movie. Didn't expect a lot and was pleasantly surprised by the storyline, the characters and the development. It is one of the movies that doesn't give enough information about the characters (on purpose) so that it leaves you with questions and wanting more. The inter relation between the characters is extremely light so that normally annoying feature actually added to this film.

Some of the features of the movie are a little disturbing but I wouldn't consider them weird enough to prevent most people from enjoying the movie.

For me a 7 means I enjoyed it and would definitely watch it again. I just wouldn't be thrilled to have paid $10 to see it.

Though there have been many films of late that address the issues of the isolation of the individual in a society increasingly settling for homogeneity, few have the honesty and simplicity of presentation as Alfredo De Villa's ADRIFT IN MANHATTAN. Perhaps the reason this film works so well is that instead of dealing with the usual tropes, De Villa restricts his story to three individuals who are suffering isolation in the noise and autonomy of New York City and are thus 'adrift' in a life that seems flat and without a beacon of hope. The story De Villa weaves is one of interaction of these characters by almost serendipitous incidents, moments that change their lives - at least for a while.

Teenager Simon Colon (Victor Rasuk) lives with his overbearing mother Marta (Marlene Forte) and gets through his life almost without speaking, working in a camera shop, spending his idle hours photographing people in the park. Tommaso Pensara (Dominic Chianese) is an elderly painter and music lover who lives alone and supports himself by being the 'mail boy' in a large firm: his loneliness is heightened when he discovers he has macular degeneration and will go blind. The physician who makes his diagnosis is Dr. Rose Phipps (Heather Graham) who is grieving from the recent death of her 2-year old child and is unable to continue her marriage to literature professor Mark Phipps (William Baldwin).

The threads of coincidence begin to tie these people together when Simon begins to photograph Rose in a manner that resembles stalking, when Tommaso notices and desires and older lady at his workplace, Isabel Parades (Elizabeth Peña) and is encouraged by Dr Rose to share his potential blindness with this friend, and when Rose explores the attention Simon bestows on her, filling an emotional need for both parties. Naturally the development of these intersections is more complex but at the same time the manner in which they develop is very tender and gentle.

Some viewers may find the film meandering a bit too much: this is not linear storytelling but rather shifts in incidents and moods and gradual changes that occur among these simple but needy people, much like the coincidences and random kindnesses occur to the sensitive eye. The cast is very fine and the cinematography and musical score sustain the mood of the piece. This film requires involvement on the part of the viewer, and that involvement has its rewards. Grady Harp