Martin Scorsese was on top of the world. He had just come off Taxi Driver, a gritty, neon-soaked masterpiece that defined the 70s. Then he decided to make a musical. Not just any musical, but a sprawling, 155-minute tribute to the golden age of Hollywood, filmed entirely on soundstages to capture a deliberate, artificial "fake" look. The New York, New York 1977 film was supposed to be his transition into the big leagues of prestige studio filmmaking. Instead, it nearly broke him.
It’s a weird movie. Honestly, it’s one of the most polarizing things a major director has ever put out. You have Robert De Niro playing Jimmy Doyle, a jazz saxophonist who is, to put it lightly, a total jerk. He meets Francine Evans, played by Liza Minnelli, on V-J Day. What follows isn't your typical "boy meets girl" romance. It’s a caustic, often improvised, and deeply uncomfortable look at how two ambitious people destroy each other while trying to make art.
People expected Singin' in the Rain. What they got was a dark character study disguised as a big-budget extravaganza. It flopped. Hard. But looking back at it now, in an era where movies feel increasingly processed and safe, the New York, New York 1977 film feels like a daring, neon-lit fever dream that deserves a second look.
The Chaos Behind the Scenes
The production was a mess. Scorsese was dealing with a heavy cocaine addiction at the time, which contributed to a frantic, over-budget, and over-schedule shoot. He was trying to pay homage to the MGM musicals he loved as a kid, like those directed by Vincente Minnelli (Liza's father). But he wanted to inject them with the improvisational "Method" acting style of the New York school.
It was a clash of styles. You had these massive, gorgeous sets that looked like they belonged in 1945, but the actors were screaming at each other in a way that felt uncomfortably 1977. De Niro actually learned to play the tenor sax for the role. He didn't just fake it; he practiced for months so his fingering would be accurate to the music. That’s the level of commitment we’re talking about. Yet, the script was often being written on the fly. Scorsese would let De Niro and Minnelli improvise for hours, then try to find the movie in the editing room.
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The budget ballooned to around $9 million, which was a lot back then. When it finally hit theaters, critics were confused. They didn't know if they were supposed to tap their toes or cover their eyes. The film's failure sent Scorsese into a downward spiral that he only pulled out of when De Niro visited him in the hospital and convinced him to make Raging Bull.
That Song: The Legacy Nobody Expected
The irony of the New York, New York 1977 film is that its title track became more famous than the movie itself. John Kander and Fred Ebb wrote it. Most people associate the song with Frank Sinatra, who covered it in 1979 and turned it into a global anthem. But in the movie, Liza Minnelli’s version is much more melancholic.
In the final act, when Francine sings "Theme from New York, New York," she’s a superstar. She’s made it. Jimmy is watching from the wings, realized he’s been left behind by her success. It’s not a celebratory moment; it’s a realization of their irreconcilable differences.
- The First Version: Kander and Ebb actually wrote a different song first. De Niro hated it. He told them it wasn't "strong enough." They were insulted but went back and wrote the version we all know today in a fit of pique.
- The Lyrics: "If I can make it there, I'll make it anywhere." In the context of the film, these words are a bittersweet acknowledgment of the cost of fame.
- The Sinatra Effect: Once Frank got his hands on it, the song's darker roots were scrubbed away. It became the song for every Yankee game and every New Year's Eve.
Why the Critics Originally Hated It
The reviews were brutal. Pauline Kael, who usually championed Scorsese, found it frustrating. The main complaint was the lack of chemistry—or rather, the toxic chemistry—between the leads. Jimmy Doyle is arguably one of the most unlikable protagonists in cinema history. He’s pushy, borderline abusive, and incredibly ego-driven.
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Audiences in 1977 weren't ready for a musical where the couple doesn't end up together. They wanted escapism. They got a 2.5-hour autopsy of a failed marriage. The film also felt "jittery." Scorsese’s editing, handled by the legendary Thelma Schoonmaker, was fast and aggressive, which felt at odds with the sweeping crane shots and lush lighting.
The 1981 Restoration and Re-evaluation
For years, the New York, New York 1977 film existed in a truncated 136-minute version. United Artists had hacked it up after the disastrous premiere. It wasn't until 1981 that the full version, including the massive "Happy Endings" musical number, was restored.
"Happy Endings" is a movie-within-a-movie. It’s a 12-minute sequence that mimics the career trajectory of a star, and it is visually stunning. Seeing the film as Scorsese intended changes the experience. You realize it’s not a "failed" musical; it’s a deconstruction of the genre. He was showing how the "happy endings" of old Hollywood were a lie. Real life is messier. Real life involves ego, resentment, and missed connections.
If you watch it today, the artifice is the point. The painted backdrops of the New York skyline aren't supposed to look real. They represent the dream of New York—the version of the city that exists in the minds of people who move there to be "king of the hill."
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Essential Insights for Film Buffs
If you're planning to watch or re-watch this classic, keep a few things in mind. First, don't expect a traditional narrative flow. It’s a vibe-heavy movie. The first forty minutes, set during the V-J Day celebrations, are intentionally chaotic and loud. It’s meant to mimic the sensory overload of a city in the middle of a massive party.
Second, pay attention to the lighting. Cinematographer László Kovács used a vivid, saturated palette that makes the blues and reds pop off the screen. It’s one of the best-looking films of the 70s, even if you hate the characters.
What to do next:
- Watch the Restored Version: Avoid the old theatrical cuts. The 163-minute version is the only way to see the film's true scope.
- Listen to the Soundtrack: The Kander and Ebb score is genuinely fantastic, blending big band jazz with Broadway sensibilities.
- Compare it to La La Land: Damien Chazelle has cited this film as a major influence. Watching them back-to-back reveals how Scorsese pioneered the "realistic musical" long before it was trendy.
- Read "Easy Riders, Raging Bulls": Peter Biskind’s book gives a terrifyingly detailed account of what was happening on the set of the New York, New York 1977 film during Scorsese’s darkest days.
The film is a flawed masterpiece. It’s too long, it’s too loud, and it’s deeply cynical. But it’s also an incredible display of a master director working without a safety net. It’s the sound of a filmmaker screaming at the top of his lungs, trying to marry the ghosts of old Hollywood with the harsh reality of the new world. It might not be Scorsese's best film, but it's certainly one of his most honest.