Customer Reviews

City of Hope [VHS]

5 star:		(5)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This film is every bit as good as the Amazon review says. Reminiscent in some ways of "Bonfire of The Vanities", it is a much, much better film than that one was, despite an obviously much lower-budget shooting. If you are a Cincinnatian, you will have a little bit of side-fun trying to identify many of the Cincinnati locales where much of this film was shot. It has a totally credible urban grittiness and one is not sure after the end of the film just how ironic the title was intended to be. Another film to see if you like this one is "City Hall", with Pacino,Cusack and Aiello.

Thouht this film does not connect with the seamless mastery of Lone Star or even Matewan, it has an undeniable haunting power, especially in its lengthy and distanced final image. The major flaw in this film, and in Sayles films in general, is his tendency to use the screenplay as a pulpit, creating characters and dialogue to make an often heavy handed statement. Take for example, the two griping women who complain that no one listens to them, or the militant Black Muslim. Fortunately, Sayles quickly leaves the preaching behind and allows his characters, their dillemmas, and their interactions to move the audience subtly, emotionally, and profoundly. The intertwining narratives are constantly engaging- whenever the film would move from one to another, i would find myself excited to return to that thread. joe morton is the standout from the film, but the performances are universlly excellent. Highly reccomended.

I've seen several John Sayles films and have been more or less impressed with all of them. This finely wrought and under appreciated little treasure, though, is probably his most complex and evocative. It's a formidable task forging a coherent drama out of the loose ends of lives with which Sayles starts. All this done in the milieu of a corrupt city, tangled relationships and hopelessness. Even the humour is bleak. The enigmatic figure of Asteroid, a raving street person provides continuity to the disjoints and reflects the futility and lack of meaning in the lives here. It is a dramatic device of real brilliance. The ironic title alludes to the fact that the major characters, the Father and Son, are trying to reinvent themselves in a nobler image.. with tragic consequences, as the corruption lashes back at them. Whether it was worth the attempt is left to the viewer. The film ends without fully resolving the tragedy, a spark of hope remains.

This is a great movie. If you like 'Lone Star', you'll also love this one. Otherwise, see both movies. It portrays the many competing forces within a city with real characters and interlocking plots. Don't believe what Leonard Maltin said about losing momentum in the end. No, it doesn't have an indulgent happy ending, but who in real life have happy endings?

This great society drama is one of the best movies ever made about life in a location traditionally called "bad neighborhood." With several interrelated stories playing out at breakneck speed, the film delivers a tremendous impact both on the intellectual, and on the emotional level. The acting is superb, and the slightly stereotypical, yet extremely important themes of urban life are depicted in a seamless manner. Although the main philosophical goal of the movie is hardly more ambitious than exposing the hypocrisy, frustration, and cruelty of people toward each other, City of Hope achieves its purpose brilliantly, and also contains a number of truly great scenes that anyone who watches the film will probably find very difficult to forget.

Neither fans nor detractors seem to have a clue what this movie is about. The best window on the theme is Tierney's statement. Everyone does deals, gives and takes favors. That's not a lamentable fact of urban life. It's the reality for social creatures. That's enobling and tragic, and all of Sayles characters are in it. All except the autistic guy, who can only parrot another's cry for help. A brilliant explication of a fundamental truth of human existence.

In this movie, ambition overreaches result, and the usually clear sighted John Sayles flounders. There are moments of brilliance, as when the camera turns sharply to pick up new threads in the sprawling interweave of city intrigue that composes the central theme. But the sprawl ultimately proves too unwieldy for even Sayles' considerable talent. I only wish he had succeeded. The backdoor machinery of city politics needs sensitive treatment of the kind Sayles can deliver. But the script falters and the characters seldom rise above uninteresting stereotype. If its true that too many cooks spoil the soup, it's also true that too many soups spoil the cook, no matter how versatile the latter. Here, director-producer-writer-actor Sayles simply raises more urban issues than he deals with effectively: police corruption, brutality, racism, homophobia, kick-backs, drugs, influence peddling, organized crime, with a symbolic love story thrown in - in short, the whole 9 yards that keeps cities operating. Unfortunately, the end result is a force field that pulls apart rather than brings together, making the whole effort appear pointless.

Too bad, because such unconventional scope requires unconventional methods of the type Sayles attempts. But I'm not sure it's possible to force such a life-sized tapestry into an ordinary two hour time frame. Perhaps something on the order of a Godfather trilogy with a central focus on the Nicky character would accomodate the filmmaker's expansive vision. Trouble is, political mavericks and independents like Sayles seldom get the financing necessary for following through. Looks like he may be consigned to work the fringes in the brilliant and committed fashion of Matewan and Eight Men Out, for which there is nevertheless always an audience.