Customer Reviews

Slaves of New York

5 star:		(6)
4 star:		(2)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

I have to admit. This is the movie that made me want to drop everything and move to NYC to become an artist/writer/hat designer/club kid. Of course, I was 16 when I first saw it and wasn't going to be leaving my Colorado suburban abode anytime soon. But it still inspired me to one day visit NYC and run into the same characters in this movie. Not only is the story entertaining, but the movie style is indeed unique.

My only request: PLEASE MAKE THIS AVAILABLE ON DVD!
I would love to see bonus DVD material including a documentary on NYC in the '80s and commentary with the director and Bernadette Peters. Maybe Criterion will take this one on.

Either way, this flick is a gem.

New York has changed since "Slaves of New York" was made. It has undergone a process of gentrification. Merchant-Ivory have created a motion picture which is nostalgic in an unique way, for a milieu that no longer exists, but lives on in our minds.

I first saw Slaves of New York when it was originally released quite some time after reading the book. I was drawn into the world of the 80's NYC Art Scene. The film is a bit austere, but I think that helps viewer's relate to Eleanor's (Bernadette Peters)struggle in life as an outsider-that she never gets the joke. Bernadette gives a rich and nuanced performance as Eleanor. She is the reason for seeing the film. She vacillates between giddy joy, depression, heartbreak, and triumph. Her introverted Eleanor is a joy to watch.
The colorful peripheral characters add spice and contrast, but it is Eleanor's story of finding her identity in an environment where everything is a facade.

This film is definitely not for everyone. Many talented people worked on this film and I found it charming on so many levels. It is definately unlike anything you have ever seen. If you love anything about the 80's culture, fashion, or pop world this is a must see. The fashion alone is a hoot. There are several priceless scenes.

Since 1989, this quirky and original little movie amused me and fed my inner Bohemian. Bernadette Peters portrays a gentle young woman in love with a misogynistic, unfaithful artist who paints popular cartoon characters. She designs hats. An amusing segment of New York's hip culturati, Slaves of New York peeks through the windows of creativity and oddity; and I'm dreaming of Soho.

That last review is not suprising to me...of course some people would be attracted to the way the movie looks, instead of what it preaches. "Slaves of New York" is actually poking fun at those who are shallow...it's not just about artists...or even New York for that matter...it's about how people treat each other in general.

If you dog it, you've obviously never dared to live it. This movie is true poetic genius on all fronts.
One of my all time favorite films.

Hopelessly stiff in some parts, and unfunny in others, "Slaves of New York" doesn't have any center. James Ivory was perhaps a poor choice as a director; there is a restrained quality to the movie and nothing seems spontaneous. Ivory seemed to be trying for his own Altmanesque collage; the truth is, Altman should have been the one to direct this in the first place.

The casting isn't much better: Bernadette Peters does what she can with the role of Eleanor but she's too old for the part. Mercedes Ruehl is barely believable as an East Village bohemian; she looks as though she's playacting. Adam Coleman Howard is more whiny than anything as Stash and Nick Corri's character, while likeable, lacks the bite of the character in the original stories.

The one scene that really stands out is the three cross dressers lip synching to the Supremes' "Love is Like an Itchin' in my Heart" on the street at 6 a.m. That's a fantastic moment and one that really gives the movie any life, and will perhaps be the ticket to the movie not being forgotten entirely.

The extras are bittersweet. The late Ismail Merchant is interviewed, looking fit and healthy, and an unsmiling Tama Janowitz discusses the transition from book to film. Bernadette Peters looks exactly the same as she always has.

Big hair, loud colours, 80's music, and funky hats. Slaves To New York captures the essence of the eighties in a New York party circuit kind of way. I marveled more at the clothes and the hair, and turned a deaf ear at the soap opera that was unravelling before my eyes. Watching all those artists play bed tag with eachother didn't seem to phase me. It's all so passe in the art world.

I loved Bernadette Peters and her constant array of feathered and bowed hats, and the film did supply some awe inspiring shots of New York city skyline. Steve Buscemi provides a cameo as a fashion designer, that was kind of interesting. But like i said before, the hats took center stage in this spectacle. Along with Bernadette Peter's bravado, Slaves of New York is a slice of 80's big apple pie.

An adaptation of Tama Janowitz's novel by the same name, this is a great story about the confusion inherent when you are living amongst those whose creative juices are always the most interesting things to them. We see mainly the emotional, mental, and professional struggles of Eleanor, the protagonist, played by Burnadette Peters. Torn between love and the desire to be loved tenderly, we find Peters stumbling through New York with her uber-cool artist boyfriend Stash trying to just keep her furrowing brow above water. Meanwhile, she works on her own artistic persuit of unique hatmaking. One of the highlights (for me) is watching Stash in artist mode, because - come on - who wouldn't fall for a conceptual artist turned cartoon painter? His artistic ego and blase - yet one would almost swear he has emotions - attitude can both frustrate and amuse. The film captures beautifully Peter's moments when you aren't sure what you would do, either, and also those when you know exactly what you would do. You get the feeling that she knows too; yet everything for Peters simply seems easier said than done. Thrown into the mix are a couple of love triangles involving other artists, and it seems that everyone is acting behind everyone else's back...it's just another element of being too chic to care. Peters remains the exception, simply attempting to break out of her increasingly degrading relationship. We go through the film laughing, shaking our heads, and championing our lovely, confused heroine - an extremely enjoyable two hours. There are some fun technicalities as well - watch for them.

This movie gives a humorous and honest portrayal of the "elite" arts community in NYC, as well as a basic love story. It is particulary funny if you've ever been privy to those (arts related persons) with inflated self-worth or self-esteem. One of my favorite visual parts is during the group softball game when you get a look at the makeshift uniforms the arts community has come up with-- I guarantee you won't be able to stop laughing during parts of this scene... Also, Bernadette Peters' Broadway acting legacy shines throughout the flick. I'm about to sound like an Imposters perfume box, but.... If you liked the movies The House of Yes, Desperately Seeking Susan, and Welcome to the Dollhouse ... you'll like this!