NEW YORK, NEW YORK, Martin Scorsese’s sprawling account of a romantic relationship jump-started, sustained, and ultimately destroyed by two lovers’ equal musical talent, is the film AN AMERICAN IN PARIS might have been if Jerry Mulligan’s egomania—his absolute faith in his own artistic abilities, his inability to take no for an answer, and his tendency to conflate his love for others with his love for himself—were a tragic flaw instead of the mark of a hero: in other words, if Jerry were played by Robert De Niro in 1977 rather than by Gene Kelly in 1951. So begins Max Nelsons essay on Martin Scorseses masterful musical deconstruction:
Posted on: Thu, 25 Sep 2014 13:51:46 +0000
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