New York, New York (1977)

PG | 137-154 mins | Musical | 22 June 1977

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HISTORY

End credits contain "Special Thanks" to Julia Cameron. Also, actor Leonard Gaines is credited as "Leonard" in the opening credits and as "Lenny" in the end credits; while actor Adam Winkler is credited as "Adam" in the opening credits, but as "Adam David" in the end credits. Then, end credits conclude with the statement "Our gratitude and respect to Irving Lerner 1909 - 1976."
       A 7 Aug 1974 DV news item reported that producers Irwin Winkler and Robert Chartoff had contracted with United Artists Corp. to produce New York, New York from an original screenplay by Earl Mac Rauch.
       News briefs in the 10 Jun 1976, 6 Jul 1976, 14 Jul 1976, 27 Jul 1976, and 29 Jul 1976 DV mentioned the casting of Larry Kert, Ralph Serpe, Joey Forman, Julia Phillips, and Jack Haley, Jr., but none are credited onscreen. A 5 Sep 1976 LAT article reported that musician-actor Georgie Auld began working with Robert De Niro in Jun 1975, teaching him to play the saxophone. Auld also dubbed the saxophone playing of De Niro’s character, “Jimmy Doyle,” on the soundtrack. Later, Auld was cast as bandleader and clarinetist “Frankie Harte.” The clarinet parts were performed by Abe Most. Saxophonist Clarence Clemons of Bruce Springsteen’s E Street Band was cast as trumpeter “Cecil Powell.”
       A 19 Jul 1976 Box new item stated principal photography began 15 Jun 1976 and an 8 Aug 1976 NYT article reported the film was produced at M-G-M studios in Culver City, CA, with a budget of $6 million. A 6 Jul 1976 DV column stated that 300 couples danced ... More Less

End credits contain "Special Thanks" to Julia Cameron. Also, actor Leonard Gaines is credited as "Leonard" in the opening credits and as "Lenny" in the end credits; while actor Adam Winkler is credited as "Adam" in the opening credits, but as "Adam David" in the end credits. Then, end credits conclude with the statement "Our gratitude and respect to Irving Lerner 1909 - 1976."
       A 7 Aug 1974 DV news item reported that producers Irwin Winkler and Robert Chartoff had contracted with United Artists Corp. to produce New York, New York from an original screenplay by Earl Mac Rauch.
       News briefs in the 10 Jun 1976, 6 Jul 1976, 14 Jul 1976, 27 Jul 1976, and 29 Jul 1976 DV mentioned the casting of Larry Kert, Ralph Serpe, Joey Forman, Julia Phillips, and Jack Haley, Jr., but none are credited onscreen. A 5 Sep 1976 LAT article reported that musician-actor Georgie Auld began working with Robert De Niro in Jun 1975, teaching him to play the saxophone. Auld also dubbed the saxophone playing of De Niro’s character, “Jimmy Doyle,” on the soundtrack. Later, Auld was cast as bandleader and clarinetist “Frankie Harte.” The clarinet parts were performed by Abe Most. Saxophonist Clarence Clemons of Bruce Springsteen’s E Street Band was cast as trumpeter “Cecil Powell.”
       A 19 Jul 1976 Box new item stated principal photography began 15 Jun 1976 and an 8 Aug 1976 NYT article reported the film was produced at M-G-M studios in Culver City, CA, with a budget of $6 million. A 6 Jul 1976 DV column stated that 300 couples danced in a scene shot at M-G-M’s Stage 29.
       According to a 21 Jun 1977 HR story, the eleven-minute “Happy Endings” musical sequence was substantially cut at a cost of $350,000. An 18 Nov 1976 Casting News feature stated the sequence involved five sound stages, seven sets, and weeks of rehearsal.
       A 23 Jun 1977 HR news item, stated the film had its world premiere 21 Jun 1977 at Alice Tully Hall in New York City to benefit the Film Society of Lincoln Center. The film received a mixed reception from critics. A 10 Aug 1977 Var article reported that United Artists had trimmed an additional sixteen minutes for subrun engagements. The cuts included a nightclub sequence and a scene in which Liza Minelli’s character, “Francine Evans,” listened to a jazz guitar record.
       A 1 May 1979 DV column announced that the “Happy Endings” sequence would screen at the Cleveland International Film Festival on 14 May 1979. A 19 Jun 1981 NYT article reported that the “Happy Endings” sequence, including Kert’s performance as a Broadway producer, was restored for a re-release. The addition also included Haley, who appears as a toastmaster in the film within the film. This version was included on subsequent home video releases. In a 16 Aug 1981 NYT round-up of summer movies, critic Janet Maslin called the last thirty minutes of the film “sensational.” More Less

BIBLIOGRAPHIC SOURCES
SOURCE
DATE
PAGE
Box Office
19 Jul 1976.
---
Box Office
4 Jul 1977.
---
Casting News
18 Nov 1976.
---
Daily Variety
7 Aug 1974.
---
Daily Variety
10 Jun 1976.
---
Daily Variety
6 Jul 1976.
---
Daily Variety
13 Jul 1976.
---
Daily Variety
14 Jul 1976.
---
Daily Variety
27 Jul 1976.
---
Daily Variety
29 Jul 1976.
---
Daily Variety
1 May 1979.
---
Hollywood Reporter
20 Jun 1977
p. 4.
Hollywood Reporter
21 Jun 1977.
---
Hollywood Reporter
23 Jun 1977.
---
Los Angeles Times
5 Sep 1976.
---
Los Angeles Times
19 Jun 1977
Calendar, p. 1.
Motion Picture Herald Product Digest
6 Jul 1977
p. 10.
New York Times
8 Aug 1976.
---
New York Times
23 Jun 1977
p. 21.
New York Times
10 Jul 1977
Section II, p. 11.
New York Times
19 Jun 1981.
---
New York Times
16 Aug 1981.
---
New Yorker
4 Jul 1977
p. 82.
Newsweek
15 May 1977
pp. 80-84.
Newsweek
27 Jun 1977
p. 61.
Saturday Review
23 Jul 1977
p. 47.
The New Republic
23 Jul 1977
pp. 18-19.
The Village Voice
27 Jun 1977
pp. 37-38.
Time
27 Jun 1977
p. 61.
Variety
22 Jun 1977
p. 16.
Variety
10 Aug 1977.
---
CAST
NAME
CREDITED AS
CREDIT
in "Happy Endings" sequence
in "Happy Endings" sequence
+
PRODUCTION CREDITS
NAME
PARENT COMPANY
PRODUCTION TEXTS
A Robert Chartoff - Irwin Winkler Production
A Martin Scorsese Film
DISTRIBUTION COMPANY
NAME
CREDITED AS
CREDIT
DIRECTORS
2d asst dir
D.G.A. trainee
1st asst dir
PRODUCERS
Assoc prod
PHOTOGRAPHY
Dir of photog
1st asst cam
Still photog
Key grip
Process coord
2d asst cam
Lamp op
Lamp op
Best boy
Best boy
Best boy
Dolly op
Crane op
ART DIRECTORS
Prod des
Art dir
FILM EDITORS
Supv film ed
Supv film ed
Film ed
Film ed
Asst film ed
Asst film ed
Asst film ed
Asst film ed
Asst film ed
SET DECORATORS
Set dec
Prop master
Const coord
Const foreman
Prop lead man
Asst prop master
COSTUMES
Men's costumer
Men's costumer
Women's costumer
Women's costumer
Asst to Miss Van Runkle
Men's costumer
MUSIC
Mus supv and cond
Orig songs
Mus contractor & copyist
Sideline mus contractor
Saxophone solos
Mus rec supv
Mus adv to Robert De Niro
Clarinet solo
SOUND
Supv sd ed
Prod sd mixer
Sd ed
Sd ed
Re-rec mixer
Re-rec mixer
Re-rec mixer
Playback op
VISUAL EFFECTS
Spec eff
Titles des
DANCE
Choreog
Asst choreog
MAKEUP
Hair des for Liza Minnelli
Make-up artist
Make-up for Miss Minnelli
Hair stylist
Hair stylist
Makeup artist
PRODUCTION MISC
Exec in charge of prod
Prod consultant
Tech consultant
Casting
Asst to prods
Asst to prods
Asst to prod exec
Prod coord
Prod secy
Scr supv
Prod accountant
Paymaster
Prod asst
Prod asst
Prod asst
Prod asst
Mr. Scorsese's asst
Mr. Scorsese's asst
A.F.I. trainee
Miss Minnellli's asst
Transportation coord
Craft service
Prod coord
Transportation
Craft service
Asst accountant
Loc mgr
Asst casting dir
Extra casting
COLOR PERSONNEL
Col by
SOURCES
MUSIC
"Billets Doux," performed by The Hot Club of France Quintet, provided through the courtesy of The Decca Record Co., Ltd.
SONGS
"Theme From New York, New York," written by John Kander and Fred Ebb
"There Goes The Ball Game," written by John Kander and Fred Ebb
"But The World Goes Round," written by John Kander and Fred Ebb
+
SONGS
"Theme From New York, New York," written by John Kander and Fred Ebb
"There Goes The Ball Game," written by John Kander and Fred Ebb
"But The World Goes Round," written by John Kander and Fred Ebb
"Happy Endings," written by John Kander and Fred Ebb.
+
COMPOSERS
DETAILS
Release Date:
22 June 1977
Premiere Information:
Los Angeles and New York openings: 22 June 1977
Production Date:
began 15 June 1976 in Culver City, CA
Copyright Claimant:
Metro-Goldwyn-Mayer Studios, Inc.
Copyright Date:
17 June 1977
Copyright Number:
LP48204
Physical Properties:
Sound
Color
Lenses/Prints
Lenses and Panaflex camera by Panavision®; Prints by Deluxe®
Duration(in mins):
137-154
MPAA Rating:
PG
Country:
United States
Language:
English
PCA No:
24960
SYNOPSIS

In 1945 New York City, on Victory over Japan or V-J Day, veteran Jimmy Doyle attends a show at the New York Theatre that features Tommy Dorsey and his orchestra. There, Jimmy unsuccessfully tries to seduce several women. Although Women’s Army Corps member Francine Evans rejects him, he persists anyway. An acquaintance of Francine’s named Arnold Trench informs her that her friend, Paul Wilson, is also at the show, and when they reunite Paul tells her he will telephone her the next day. Meanwhile, Jimmy’s friend, Eddie Di Muzio, asks for Jimmy's hotel room key because he met a girl. Eddie’s date, Ellen Flannery, turns out to be friends with Francine. Eddie and Ellen leave and Jimmy is left alone with Francine, but she brushes him aside and leaves. Four hours later, Jimmy calls his room, but Eddie has not yet finished his romantic interlude. In the morning, Jimmy finds Francine at the hotel’s front desk looking for Ellen. Jimmy, who has been jumping from hotel-to-hotel and writing bad checks, must make a quick escape to avoid the desk clerk. He asks Francine to get his suitcase and saxophone from the room and they meet outside in a taxicab. Jimmy is late for an audition in Brooklyn and insists Francine go with him. At the audition, the club owner tells Jimmy that he is playing too loud. Francine suggests Jimmy adjust his style and Jimmy becomes angry. While apologizing to Francine, Jimmy argues with the club owner. Francine interrupts by singing and encourages Jimmy to accompany her. The club owner loves the act and hires them as a duet. A romance ensues, but Francine soon learns from her ... +


In 1945 New York City, on Victory over Japan or V-J Day, veteran Jimmy Doyle attends a show at the New York Theatre that features Tommy Dorsey and his orchestra. There, Jimmy unsuccessfully tries to seduce several women. Although Women’s Army Corps member Francine Evans rejects him, he persists anyway. An acquaintance of Francine’s named Arnold Trench informs her that her friend, Paul Wilson, is also at the show, and when they reunite Paul tells her he will telephone her the next day. Meanwhile, Jimmy’s friend, Eddie Di Muzio, asks for Jimmy's hotel room key because he met a girl. Eddie’s date, Ellen Flannery, turns out to be friends with Francine. Eddie and Ellen leave and Jimmy is left alone with Francine, but she brushes him aside and leaves. Four hours later, Jimmy calls his room, but Eddie has not yet finished his romantic interlude. In the morning, Jimmy finds Francine at the hotel’s front desk looking for Ellen. Jimmy, who has been jumping from hotel-to-hotel and writing bad checks, must make a quick escape to avoid the desk clerk. He asks Francine to get his suitcase and saxophone from the room and they meet outside in a taxicab. Jimmy is late for an audition in Brooklyn and insists Francine go with him. At the audition, the club owner tells Jimmy that he is playing too loud. Francine suggests Jimmy adjust his style and Jimmy becomes angry. While apologizing to Francine, Jimmy argues with the club owner. Francine interrupts by singing and encourages Jimmy to accompany her. The club owner loves the act and hires them as a duet. A romance ensues, but Francine soon learns from her agent, Tony Harwell, that she can return to her job singing with Frankie Harte’s band. Sometime later, Tony delivers a letter from Francine to Jimmy at the club, explaining her absence, and Jimmy asks Tony to represent him. Jimmy travels to Francine’s show in Roanoke, Virginia, and makes a scene. Paul Wilson, the piano player, steps in, and when Francine takes Jimmy outside, he professes his love for her. Francine arranges for Jimmy to audition for bandleader Frankie Harte, and he joins the band. Traveling by bus, the band crisscrosses the southern U.S. and Jimmy and Francine grow closer. When she allows him to read a love poem, Jimmy insists they leave the motel in the middle of the night to go to the justice of the peace. Francine is disappointed in Jimmy’s proposal and says she will not marry him. In response, Jimmy crawls under a taxicab and orders the driver to run him over. He professes his love once more and Francine agrees to the marriage. Later, one of the band members is caught with an underage girl and Frankie bails him out. Tired of losing money, Frankie tells Francine that he is canceling the rest of the tour. However, she suggests he let Jimmy take over the band. Frankie grudgingly agrees and the band lands a gig at a hotel in Chicago, Illinois, now called “Jimmy Doyle and his Orchestra.” The band is a hit and Francine is praised in a newspaper review. During rehearsals, Jimmy clashes with band members and loses his temper when Francine intervenes. She later leaves the stage in the middle of a show. Jimmy goes after her, and she announces that she is pregnant and wants to return to New York City. Upset, Jimmy insists she stay with the band, but finally agrees to let her go. Back in New York City, Tony finds Francine doing studio recording work, while Jimmy and the band tour with a new singer, Bernice Bennett. Eventually, Jimmy turns the band over to pianist Paul and returns to New York City three days later than planned. There, he tells Francine that the band did not work out and that he needed some time alone. Jimmy works on a tune and Francine adds lyrics, calling it “New York, New York.” Later, Jimmy tells jazz musician Cecil Powell that his former band members were not good enough, and he wants to play with the best. Cecil invites Jimmy to sit in with his quintet at the Harlem Club. The following day, Jimmy picks up Francine at the recording studio and explains where he was the night before. Francine, now six months pregnant, asks Jimmy to pay more attention to her. Jimmy takes Francine to see their former band, now billed as Bernice Conrad and the Paul Wilson Orchestra. Francine invites her old friend Ellen Flannery and Decca Records producer Artie Kirks, hoping they will hit if off. At the show, Jimmy is displeased, becomes intoxicated, and confronts Paul onstage. After being forcibly removed from the club, Jimmy plays his saxophone beside a billboard for Paradise Park. The next day, he picks up Francine from the studio with a car full of flowers and they make up. Francine brings Tony and Artie to the Harlem Club to discuss a recording deal that Artie recently offered her. Francine is concerned about the baby and Artie and Tony promise to get her a nurse for the road. Jimmy claims he approves, but leaves to make a telephone call. After Artie and Tony leave, Francine drinks and makes her way toward the stage. Jimmy notices, and starts wailing on his saxophone. Francine dances with a man and appears to leave with him. Jimmy rushes out, sees the man get in a taxicab, and follows it in his car. Francine, who is actually sitting in the back seat of Jimmy’s car, covers his eyes with her hands and the car runs up on the curb. Jimmy drives recklessly as they argue over the baby and the fights turns physical. Francine begins screaming in pain and Jimmy drives her to a hospital. Francine gives birth, and when she informs Jimmy that she named the child after him, he becomes angry. Jimmy claims he does not want to see the child because he does not plan to stay and raise him. Francine says she loves him, but Jimmy says that is not possible, and says goodbye. Several years later, Francine records a song as Artie and Paul look on and her son sleeps in the studio. Francine goes to Hollywood, California, to star in a movie musical called Happy Endings. In the movie, Francine’s character is an usherette named “Peggy Smith,” who imagines she is a Broadway star. Later, Jimmy watches the movie in a theater. Meanwhile, a radio disk jockey begins using Jimmy’s instrumental, “New York, New York,” as his theme and it becomes a hit on the jazz record charts. Jimmy goes to the Starlight Terrace to see Francine perform and she notices him in the audience. She then performs “New York, New York,” with her lyrics. Jimmy visits Francine in her dressing room amid a crowded after-party, but he is uncomfortable. On his way out, Jimmy says hello to Jimmy, Jr. Jimmy calls Francine from a phone booth outside the stage door and invites her to join him for Chinese food because there is something he wants to discuss. She agrees, but has second thoughts and leaves him waiting. +

Legend
Viewed by AFI
Partially Viewed
Offscreen Credit
Name Occurs Before Title
AFI Life Achievement Award

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