"Adrift in Manhattan" tells three intertwining tales of life along Manhattan's 1 subway line. (The film was originally called "1/9," but was probably changed due to the 9 recently being discontinued.) The first concerns an optometrist (Heather Graham) haunted by the death of her child and no longer able to make a connection to anyone, including her estranged husband (William Baldwin). The second deals with a teenager (Victor Rasuk) with a disturbing home life who can only relate to the world through a camera lens. The third deals with an elderly painter (Dominic Chianese, best known for playing Uncle Junior on "The Sopranos") rapidly losing his eyesight as he discovers love with a younger woman (Elizabeth Pena).
I don't give this film a 10 rating lightly...I don't gratuitously hand out the highest ratings to films. But I loved this movie, and I love movies like this: character-driven dramas with solid plots in which the featured players take interesting, unexpected paths. "Adrift in Manhattan" is filled with great characters who could each be the single focus of a film. It's to the credit of director Alfredo de Villa that he manages to fit them all within the confines of this roughly 90 minute movie in such a satisfying manner.
The acting is excellent. Heather Graham gives a carefully nuanced performance that should serve to remind people she can be a great actress when working with solid material and a skilled director. William Baldwin is a revelation. Here you realize the magnitude of his potential, and how he is not "just one of the Baldwin brothers." Victor Rasuk manages to be both creepy and sympathetic, and it's a credit to his talent that you wind up rooting for him more than anyone else. Dominic Chianese gives a heartbreaking performance, and proves to be an actor of great depth. Anyone expecting to see traces of Uncle Junior will be surprised. It makes one hope he stays with us a long, long time so that we can see the full realization of his talents now that the spotlight is on him and he's better able to get good roles like this. I could go on and on about the stand-out performance by Elizabeth Pena, but time is limited.
There's a raw, leave-nothing-to-the-imagination sex scene between Graham and a certain character (trying not to divulge any serious spoilers here) that is not only surprising (given how, when Graham shot it, there were very high hopes for her ABC sitcom and for her becoming a network prime time queen), but cathartic and wholly satisfying in terms of character arc. It is shocking and unexpected when it comes, but makes perfect sense when you realize the film has been building up to it.
Best of all about "Adrift in Manhattan," de Villa effortlessly presents a New York City vibrant in all of its diverse glory, not only in terms of race, but age, class, mental stability, aspirations, and broken dreams...the way the city truly is. This isn't the fake, lifeless, Midwest fantasy New York you find in "Friends," "Sex and the City," "The Devil Wears Prada," and most sitcoms and movies of the last several years. This is the real New York as presented through the gaze of narrative film.
Travel along the 1 train in Manhattan and you'll find a million stories, with each one leading to a million others. (A real life, non-virtual MySpace network.) De Villa and co-writer Nat Moss take three interconnecting ones, and the result is an amazing film that not only provides an ideal showcase for the actors involved, but also serves notice to the film-making community that a talented director has arrived. Let's hope some studio or mini-major pays attention.
I don't give this film a 10 rating lightly...I don't gratuitously hand out the highest ratings to films. But I loved this movie, and I love movies like this: character-driven dramas with solid plots in which the featured players take interesting, unexpected paths. "Adrift in Manhattan" is filled with great characters who could each be the single focus of a film. It's to the credit of director Alfredo de Villa that he manages to fit them all within the confines of this roughly 90 minute movie in such a satisfying manner.
The acting is excellent. Heather Graham gives a carefully nuanced performance that should serve to remind people she can be a great actress when working with solid material and a skilled director. William Baldwin is a revelation. Here you realize the magnitude of his potential, and how he is not "just one of the Baldwin brothers." Victor Rasuk manages to be both creepy and sympathetic, and it's a credit to his talent that you wind up rooting for him more than anyone else. Dominic Chianese gives a heartbreaking performance, and proves to be an actor of great depth. Anyone expecting to see traces of Uncle Junior will be surprised. It makes one hope he stays with us a long, long time so that we can see the full realization of his talents now that the spotlight is on him and he's better able to get good roles like this. I could go on and on about the stand-out performance by Elizabeth Pena, but time is limited.
There's a raw, leave-nothing-to-the-imagination sex scene between Graham and a certain character (trying not to divulge any serious spoilers here) that is not only surprising (given how, when Graham shot it, there were very high hopes for her ABC sitcom and for her becoming a network prime time queen), but cathartic and wholly satisfying in terms of character arc. It is shocking and unexpected when it comes, but makes perfect sense when you realize the film has been building up to it.
Best of all about "Adrift in Manhattan," de Villa effortlessly presents a New York City vibrant in all of its diverse glory, not only in terms of race, but age, class, mental stability, aspirations, and broken dreams...the way the city truly is. This isn't the fake, lifeless, Midwest fantasy New York you find in "Friends," "Sex and the City," "The Devil Wears Prada," and most sitcoms and movies of the last several years. This is the real New York as presented through the gaze of narrative film.
Travel along the 1 train in Manhattan and you'll find a million stories, with each one leading to a million others. (A real life, non-virtual MySpace network.) De Villa and co-writer Nat Moss take three interconnecting ones, and the result is an amazing film that not only provides an ideal showcase for the actors involved, but also serves notice to the film-making community that a talented director has arrived. Let's hope some studio or mini-major pays attention.