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New York, New York [Import]

Liza Minnelli , Robert De Niro , Martin Scorsese    PG (Parental Guidance Suggested)   DVD
3.6 out of 5 stars  See all reviews (12 customer reviews)
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Martin Scorsese took a daring turn from the mean streets that made his reputation in the early 70s with New York, New York, his homage to the big-band era. And what a homage it is: the dazzling production design by Boris Leven continues to impress over the film's nearly three-hour length. And there's no denying the anthemic appeal of Kander and Ebb's title song, belted with winning bravado by costar Liza Minnelli in a show-stopping finale. But as valiantly as Minnelli and Robert De Niro try, they can't elevate the shaky plot beyond its two-dimensional construct. It purports to be a Star Is Born-like tragedy of colliding careers but too often it feels like inadvertently eavesdropping on a marriage counsellor's most truculent clients. (There are times you want someone--anyone--to slap Minnelli upside the head with a copy of Women WhoLove Too Much.) The film is for diehard Minnelli (or Scorsese) fans only. --Anne Hurley

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Most helpful customer reviews
4.0 out of 5 stars New York, New York - great value from Amazon Aug. 25 2013
Format:DVD|Verified Purchase
Scorsese was much too ambitious for the making of such a contrasting movie. By attempting to bring all things to all viewers, Scorsese fails to score a real hit. Firstly, let me say that the music, era atmosphere and Lisa were the best part, seeing that viewers went primarily to see a musical entertainer. But by interjecting De Niro's irritating character, it spoiled the viewers concept of his true musical genius. The taxi could just as well have reversed and refocused on Minnelli's pole-vaulting career, and beautiful music that musical enthusiasts love.In summary, I loved the music, hated the relationship portrayed.
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3.0 out of 5 stars New York, New York Review Sept. 22 2011
This product was delivered on time and the seller was great. As far as the movie is concerned, although it is a Scorsese film, remember, it's early Scorsese. There are bloopers left, right and centre and continuation is off in some scenes. The sax jazz music gets a bit tedious and unfortunately they bring in the songs and productions with Liza Minelli too late in the film. There are some good scenes and some good music but it definitely is not polished like later blu-rays such as the newest film version of Phantom of the Opera or The Producers.
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5.0 out of 5 stars A Great Epic Musical April 20 2004
Format:VHS Tape
This movie is a trully underated musical. The poor script and imprudent editing are its only flaws. But the performances, the direction, the story,the costuming, the art direction, cinematography and the music make those flaws virtually unoticable. Im sure if this had been the success it should have been back in 1977, Im sure the film, the art direction, the cinematography, the costuming, Scorcese, and above all else Minelli(who never looked or sounded better)and Deniro would all have gotten Oscar nods. The one that I truly cant beleive is that the title song didnt win the oscar. It has become such a standard it should have one. Overall a great film trully an underated classic.
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4.0 out of 5 stars Great music but not so deep emotions March 14 2004
Format:VHS Tape
Liza Minelli is great in this film that is a manifesto for New York jazz and Broadway musicals. She has a deep and mysterious voice and her songs are highly poetic. Robert de Niro is an aggressive lover and a very self-centered musician, music-doubled by Auld. In fact he looks like a remake of Fred Astaire in his courting techniques, but without the light humorous dimension of Fred and with a deeply egotistic and melo-dramatic dimension. But the film goes beyond this and shows how two artists could work together if they accepted to step beyond the small difficulties of life. Small is a way of speaking since it is a pregnancy that does not come at the right moment, breaking up a band and endangering a career. Robert de Niro just rejects the problem and saves his own career by dumping the wife he had had so much difficulty to conquer. Liza Minelli recaptures her own career after this event with her talent and also with her easy-going friendliness. The film becomes sad and has no Happy Ending because the two hesitate to recapture the past and meet again for reasons that are not really made explicit in the film, but that we can imagine to be the fear to go back to a cannibalistic relation on the side of Liza Minelli and the fear to get penned up into limitations on the side of Robert de Niro, in spite of the attraction his own son exerts on him. This shows how difficult it is for two great artists to live together and to work together, especially when one is tyrannical and the other diplomatic. Napoleon meets Queen Victoria in some way. But the film is too much centered on the music and not explicit enough on the love affair and sentimental experience if not experiment the two go through. It makes it a litle bit cold and unsensitive. We have to imagine too much about the relations between the two. So it makes the film slightly shallow and slow, in a word long.
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4.0 out of 5 stars Off-Beat, Sometime Ponderous, and yet Memorable Nov. 19 2002
It is time for "Martin Scorses" to go back to his original
4 hour plus of his film "New York, New York". At Times it
moves slowly, and needs editing, other times the film is
deliberately slow, and then there are the scenes in the
second half that are so legendary, that they are what makes
this film a must for fans of "Jazz", "Kander And Ebb", and
"Liza Minnelli" performing at the top of her game! I bet there
are scenes you can tell are missing which should be put back
to give the story a stronger love story, rather than a "jerk"
with major talent and frustration who needs to dominate his
wife...........the dvd version could be, the definite version
of this film which has been seen in three different versions...
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4.0 out of 5 stars flawed but fascinating July 25 2001
Format:VHS Tape
Godard maintains that this was Scorsese's greatest film--an outrageous claim but one that I can somewhat sympathize with. It is ironic that Scorsese's reputation is as a sort of gritty realist; in fact, his real subject has always been the slightly warped dream world of profoundly alienated individuals and the real mean streets his characters walk are not in New York but in a half-remembered, half-hallucinated Hollywood of the 40's and 50's. His often--perhaps too often-- repeated gesture is to place his lonely dreamers in collision with "reality" and to show it to be everybit as slippery as fantasy and just as inescapable. In this strange musical he seems to build a whole world out of bits of pop culture memories, cliches, and Hollywood images. This seems to be what attracted him to Liza Minnelli (There are several allusions and echoes of Vincent Minnelli here and Scorsese was one of the younger directors the old man most admired) and this interest on Scorsese's part works to the actress's disadvantage: while her famous parentage clearly resonates with the era and style Scorsese is exploring, her role is grossly underwritten and the director gives her little help, though she livens up considerably in some of her scenes with DeNiro. In fact the scene with the famous theme song came about when Scorsese saw Minnelli working in Vegas--which points up the extent to which he was more interested in the real Liza Minnelli than the character she was supposed to be creating. Read more ›
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