Judy Berlin

JUDY BERLIN was obviously inspired by the many comedies of Woody Allen. Everything from the black and white look (that Allen used in MANHATTAN and STARDUST MEMORIES among others), to the neuroses of it's main character David (a struggling filmmaker) to the girl he tries to win (THE SOPRANOS' great Edie Falco) to the portrayal of the parents (including the late, great Madeline Kahn, in her final performance), all suggests Woody. But the director, Eric Mendelson, making his first film, captures all these people in the same way Allen does in all their humour- but also suggests a level of sadness that Woody hardly ever did. This is a wonderful little film that should be enjoyed by all.

Remember when art films weren't directed by teenagers for teenagers? Remember when they didn't have anything to do with pop culture. Remember when there was actually something as an adult culture?

Neither do I. But there must be some old people out there who do.

"Independent films", a new genre that has replaced what used to be called "art films", are not worthy of their name. They're, on the whole, hip, mass-marketed screwball comedies, "chick flicks", novelty films, etc. Little other than budget separates an "independent film" from a slick, cynical Hollywood marketing effort. In fact, many independent films are slick, cynical Hollywood marketing efforts.

Seeing Judy Berlin is what it used to be like seeing art films. The very fact that nothing in it is designed to shock or surprise you will shock and surprise you. The very fact that nothing in it was test-screened for maximal emotional manipulation will maximally emotionally manipulate you. The fact that no surprising plot twists were inserted to make you want to go see it again will so surprise you that you will want to see it again.

This is not necessarily an endorsement. But I want to stress that this is a film that will not remind you of any other film. It will not be die hard on an anything. It doesn't count Gilligan's Island and My Favorite Martian among its influences, but Checkhov, Camus and Bergman--the sorts of things you've been taught to think are pretentious and stodgy. It is something new--even dare I say it, experimental. Gasp! Avant garde. It wasn't made to make the most money possible. There will be no toy tie-in available with your happy meal.

Whatever you think of this film, cherish it as a kind of throwback, a one-in-a-million, the last dodo bird yet living.

In a day of eclipse in Babylon Village, in New York, the thirty-two year-old aspirant actress Judy Berlin (Edie Falco) is moving to California expecting to make her dream come true. Her mother Suzan 'Sue' Berlin (Barbara Barrie) is a bitter school teacher that likes to flirt with the principal Arthur Gold (Bob Dishy), who is married with the housewife Alice Gold (Madeline Kahn) that is close to a breakdown. Their thirty year-old son David Gold (Aaron Harnick) has just moved back home after a frustrating experience as filmmaker. While wandering on the street, David meets Judy who studied with him in the elementary school and they spend the day together. Meanwhile the confused Arthur kisses Sue during the eclipse.

"Judy Berlin" is a delightful low-budget movie with entwined stories in the suburb of Babylon. The performances are excellent, disclosing the intimacy of the characters in a realistic way. This movie was released in Brazil on VHS by Cult Films Distributor. My vote is eight.

Title (Brazil): "Judy Berlin"

In a film full of wonderful, low-key performances by actors playing lonely, unhappy characters, Madeline Kahn is the standout as a woman on the verge of a nervous breakdown. Unlike any other performance she gave in film, Kahn -- known for her comic roles -- turns in a marvelous, dramatic turn that should have netted her a posthomous Academy Award nomination. She is simply brilliant, and she should have been given a lot more dramatic roles in her career. After all, they say that comedy is the hardest thing for an actor to do, and with all the great comic roles she had -- in "Paper Moon," "Blazing Saddles" and "Young Frankenstein," just to name a few -- directors should have known that behind those funny faces was a great actress who could play any role.

Finding amusement in the thin, flat tract of routinized suburbia called Long Island is easy. Finding poetry in that glacial deposit of post-World War 2 optimism just a few miles from Manhattan is where storytellers usually stumble. The less visionary settle for rue or bitter satire. The more clear sighted (like first time feature director Eric Mendelsohn) in his haunting and hopeful "Judy Berlin" sustain a reverence for such dappled things as the fuzzy cry of Long Island Railroad whistles, the hushed moments when streetlights snap of at dawn, and the hum of the vacuum cleaners as black housekeepers tidy the living rooms of their white employers. When I first saw this drama at Sundance a year ago, I liked it. On second viewing, I think I love it. "Judy Berlin" is about fuzzy, hushed, humming moments of possibility experienced by an interrelated assortment of Long Islanders on an early autumn day when an eclipse upsets ordinary routine. It's also more specifically, about a sunny woman and a moony man who cross paths just as magically. In Mendelsohn' astronomy, 30ish Judy herself ("The Soprano's" Edie Falco) represents the Island at its most resilient. Friend to everyone in her hometown, she's a former tough girl and current aspiring actress with a mouthful of braces and no particular talent except for enthusiasm. And on this day she's saying her goodbyes before she tries her luck in Los Angeles. Judy's former high school classmate David Gold (Aaron Harnick) is a walking amalgam of everything arrested, depressed and stultified from that same address - the lost boy who never grow up. An aspiring film-maker, he went to L.A. only to return home, defeated, to his parents. Judy bubbles; David despairs, in Woody Allenish cadences. (Mendelsohn used to work as an assistant to Allen's costumer.) Yin and yang, light and dark, night and day. The film-maker balances the two with gyroscopic poise, while those around them weigh their own options for transformation. Holding the mother together as much as the sweetness of the performances is cinematographer Jeffrey Seckendorf's velvety black and white photography, which lavished the same admiration on knick-knackery in the Gold's living room as it does on trees swaying from the flapping wings of birds feeling the approaching eclipse. But "Judy Berlin's" sustained loveliness and the graciousness with which Mendelsohn acknowledges what's precious and what's paralyzing about the place he comes from - well, that is the film-maker's own gift from the suburbs.