“New York Stories” (1989) must’ve been tantalizing to film nerds when it came out: For the price of one ticket, you get 40-minute films by three directing legends: Woody Allen (“Oedipus Wrecks”), Martin Scorsese (“Life Lessons”) and Francis Ford Coppola (“Life Without Zoe”). Does it deliver? Well, let’s say two outta three ain’t bad.
‘Oedipus Wrecks’
Allen’s film screens last in the U.S. release, but this is Woody Wednesday, so I’ll start here. Interestingly, Allen – considering that he’d later comment about “Crisis in Six Scenes” that he is clueless about TV-length writing — most comfortably uses the short-film format.
It wouldn’t feel wrong if the “Curb Your Enthusiasm” music launched the film – except that it smoothly integrates the supernatural. Sheldon (Allen) is part of a successful law firm, and he’s dating pretty and put-together divorcee-with-kids Lisa (Mia Farrow). He’s doing OK for himself at 50.
“New York Stories” (1989)
Directors: Martin Scorsese (“Life Lessons”), Francis Ford Coppola (“Life Without Zoe”), Woody Allen (“Oedipus Wrecks”)
Writers: Richard Price (“Life Lessons”), Francis Ford Coppola and Sofia Coppola (“Life Without Zoe”), Woody Allen (“Oedipus Wrecks”)
Stars: Nick Nolte, Rosanna Arquette, Woody Allen
Yet he’s neurotic as heck because he’s constantly nagged by his mom (the adorably on-point Mae Questel). After a botched magician act sends Mom into the sky as a spirit that everyone in NYC can see and hear, Sheldon’s neuroses become such that suicide seems the only way out. Suffice it to say, “Oedipus” is hilarious.
It also features one of the most robust turns for Julie Kavner just before she made it big voicing Marge on “The Simpsons.” And look for “Curb’s” Larry David, on the verge of success as “Seinfeld’s” co-creator, among the magician’s crew.
4 stars
‘Life Lessons’
Scorsese’s film (written by Richard Price) is driven by a charismatic Nick Nolte as successful artist Lionel and a sexy Rosanna Arquette as his assistant/lover Paulette. It’s spiced up by the deliciously ugly/beautiful studio apartment where they live (he owns the whole building) and jaunts into the wet and chilly NYC streets. Scorsese takes to heart that “New York Stories” is supposed to showcase the city.
I love his choice of Procol Harum’s “A Whiter Shade of Pale” as the single Lionel most often slams into his paint-stained tape deck as he slings colors across a huge canvas. It came out in the 1960s, but the heavy use of Hammond organ makes me think of bittersweet big-city life in the 1980s.
“Life Lessons” doesn’t give complete arcs to the leads. It’s more like a slice of life – albeit a slice they perhaps keep repeating. I was left to ponder the ennui of Lionel’s cycle where he quickly falls in love with new girls who are thrilled that he offers them a salary and a room. But they of course love what he provides more than him as a person.
Also look for Steve Buscemi, bizarrely cast against-type as a successful lothario and performance artist.
4 stars
‘Life Without Zoe’
Coppola’s film is blatantly the weak link, but it might be the most interesting to talk about. His teenage daughter, Sofia, co-wrote the film and designed the fashions. Because Sofia went on to be a great director (“Lost in Translation”), “Zoe” is now a fascinating peek into her career start … and perhaps her own life as a kid. Had she not turned out to be talented, the film might play as nepotism.
“Zoe” stars Heather McComb as the titular pre-teen – Sofia herself was perhaps too old for the role – who is the rich version of a 1980s latchkey kid. She’s raised in drips and drabs by all the staff of a posh hotel. Her flautist father and fashion-designer mother are away a lot.
A plot about a missing earring is nonsensical. That’s a shame because it could’ve been easily fixed in the scripting stage. Then a viewer could be swept away in the things that are done well, namely a wildly colorful costume party thrown by Zoe and her new friend, a foreign prince. (Although even here, Coppola is satisfied with passable takes.)
“Zoe” is like one of those Disney Channel shows about inexplicably rich kids, except with a lavish budget rather than a cheap one. Any sort of comprehensible plot – even at sitcom level – would’ve made it much better.
2 stars