Autumn in New York (2000)
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I am personally a fan of both the "tear-jerker" genre of movies and of the handsome Richard Gere. Not only could Mr. Gere's presence not save this one for me, but he was one of the reasons that I strongly disliked the film. His character was completely dispicable, he had absolutely no chemistry with his leading lady and his performance was so wooden that one wondered if he was being held on the set against his will.
I can't possibly be the only one who just didn't buy into their whole romance. One second, Will was telling Charlotte that their relationship had absolutely no future. The next second she was telling him she was terminally ill....then, magically, he decides he can't live without her. How's that for brilliant screen writing? Let's not forget the fact the he sleeps with someone else while the love of his life is down stairs in the very same house. My heart just leaps at the thought of their true love. Yeah, right. I found myself hoping that whatever Charlotte had was contageous so she could take Will with her when she died and put him out of his misery.
The movie had 2 chances to redeem itself, by exploring the possibility that Will's feelings for Charlotte were a product of deep feelings he had for her dead mother, and by delving into Will's desire to forge a relationship with his long absent daughter. These elements were either ignored or poorly explored and added absolutely nothing to the final product.
With the exception of the cinematographers, every one involved in this snoozer should be ashamed...especially Mr. Gere and Ms. Ryder, both talented performers. What were they thinking when they picked this script?
Keep "Autumn in New York" in mind for those sleepless nights...this one will send you to dreamland in minutes.
I don't care what the critics say, I thought it was a great movie. Winona is as beautiful as ever and gives one of her best performances. Her face is so radiant and hauntingly beautiful. I can't get her out of my mind. Too bad her nude scene was cut from the film. It would have been her first.
Go see it if you like Winona or Gere. I give it 3 stars.
Ryder plays an early-20-something girl who falls for a 48-year-old restaurant owner. The lead characters "fall in love," but their relationship is strictly 2-dimensional. We're never given any clue about what is actually attracting these two people to each other. Her terminal illness is also totally unbelievable; Ryder's character has quite normal capabilities for the most part, until she suddenly gasps or unexpectedly falls over unconscious at crucial moments. The plot is totally disjointed, with very little understandable cause and effect established between various actions and reactions.
Gere is a decent actor, at least when he plays his usual stock character (the rich, self-centered playboy). He has some stupid lines to deliver, but he manages to be the only believable thing in the movie. But that only allowed me to hate his character with a passion. He's not just a womanizer, he's a big enough jerk to --now, try to get all this-- have quickie sex with an old girlfriend at his best friend's house, during a children's Halloween party, which he is attending with his current, dying girlfriend, whom he says he loves more deeply than anyone else he has ever known. After lying about the tryst, Gere finally tells Ryder that he HAD to have sex with another woman because he was "scared." Oh please! The screenwriter must be equally a jerk, because he obviously thinks we will actually LIKE this creep. After that kind of behavior, not only do I fail to like him, I can't care at all what happens to him.
Of course, Ryder's poor little sick girl quickly melts and forgives him, and believes him when he whispers to her he loves her. Frankly, at that point in the film I was thinking, "She deserves whatever she gets. Neither one of these people have a clue what love is." For some reason, by the end of the film, Ryder's sickness and death makes things okay between the restaurateur and his estranged daughter. Why? How? Who knows! Who CARES; I was just grateful the film was over!
Even the actors couldn't save this movie (not to say that Gere is a shining example of acting prowess). It was full of one-liners that one would only expect in cheap, tawdry romance novels, but never on-screen in a major motion picture release. "Unless..." Gere says with an expectant look on his face when he explains to Charlotte (Ryder) that his date for a benefit party had canceled on him and he's not going because he doesn't want to go alone. The line is delivered with the same stinted, cookie-cutter way it was written. So perhaps I should be singing kudos to the actors for delivering exactly what the script dictated: empty emotions and lost, plaintively hollow words. The story was lacking and clichéd to the point that I couldn't even have any sympathy for the plight of the characters. Charlotte was a caricature of a fey faerie, not a stretch for Ryder, and Will was a caricature of a rags to riches playboy, not a stretch for Gere.
The *only* thing that kept me sitting in the theatre were the air conditioning and comfortable seats and the occasional bit of lovely cinematography. There weren't many images that were "Wow," but there were a few, and that somehow made the $4.50 I spent on the movie *almost* worthwhile.
The film is wonderfully directed by Joan Chen and it was beautifully shot by the cinematographer, Changwei Gu.
New York never looked so beautiful!
this film is a shocker, however, if you can enjoy watching truly awful, clichéd, fantastical films, you can probably have a good laugh at the expense of the misguided team who put it together. one wonders if they genuinely believed in what they were doing or whether it was merely a cynical attempt to exploit their chosen market.
it's a while since i've seen it, but its awfulness lives on.
particularly the awfulness of the young woman's 'hat' creations and the ridiculousness of those around her declaiming her 'talent'. she also makes the healthiest looking corpse i've ever seen.
I would highly recommend this film to couples and mature adults.
About the acting. Richard Gere is Richard Gere in this movie. I don't know about other reviewers, but it seems to me that he always delivers the same kind of performance. Beautiful Winona is good but not excellent in this one. After seeing her superb performance in «Girl, Interrupted», I was a little bit disappointed.
6 out of 10.
The chemistry is terrible: Well NO not really. What is being mistaken for lack of chemistry is a detachment which is perfect for the tone of the movie. Both main characters have mental asides. Winona's character is hiding something and Gere's character feels this. Add this to his emotional dilemma (he has never really given a rat's ass about anyone before and you could see why the characters are not doing cartwheels in bed.
The movie is cheesy: What do you call titanic? City of Angels? Do you think these bodies of work are original. This may come as a shock to you but there is no such thing as an absolutely original idea. Every idea or concept borrows ingredients from another avenue. Look at the matrix.
The script is redundant: The dialogue is horrible but then again, so was the dialogue in Mission Impossible.
I don't expect this mediocre movie to change the world or even make a serious impact on culture or what have you. I just don't appreciate a regular old run of the mill cheesy Hollywood flick such as this one being crucified when others are left to fly and are called "the best movie of the year". Something is wrong. I do not like this. It does not make any sense.
Perhaps the earliest allusion is a view of Bow Bridge which crosses a creek-like section of the Lake in Central Park (recall the imagery of the song.) I won't kill the thrill of the hunt by mentioning more than one more allusion. Some are fairly obvious and undeniable, they all are visual--you can't just watch this movie with your ears!!!
Both movies are about the man being rescued from loveless intimacy, and the woman learning not to fear. Their love is across a great divide--wealth and education in "Breakfast", age in "Autumn in New York."
Perhaps the deepest allusion is the bird imagery associated with the heroines (which did in fact originate with Capote.) Audrey's bird image is afraid of being caged, Winona's is afraid of being held to earth.
This film is being derided as poorly-written when in fact anyone who watches it with eyes wide open--do film critics wear dark glasses?--will discover that it is a beautiful thing as intricate as one of its heroine's creations. Its greatest appeal is that the most mundane scenes--like an introduction at a dinner table--are raised to the level of art with great cleverness and originality (Who has seen a lovers' first meeting like this?) and sealed in an even fragrant ambiance from which they can never be separated in memory. Indeed it is the great Capote's characters and situations that are strange and implausible, Allison Burnett's are everyday and all of us.
One curious thing about the writing: the words of this work don't sound right unless you are "getting" what is happening visually. Visual people experience the effect when they just close their eyes during this film. It's a strange thing to stumble onto, but not inexplicable: the more sense and nuance communicated through the eyes the less demanded from the words. Ultimately the words should only need to ring true. That Burnett's words do ring true is evidenced by the fact that people walk out of the film having accidentally memorized verbatim the crucial moments of dialog.
If anyone should be interested in learning the visual language of art, it's a natural thing, and you are built for it like a fish for swimming. I say from personal experience the best thing is to have an art museum or a library of art books that you can visit frequently. Don't spend a second looking at anything that doesn't interest you, but always leave by revisiting what you liked. You will soon be broadband-ready and learning from all you see.
At first we know that Gere is a playboy and Ryder is a terminally ill young lady. Of course, the ages between these two really doesn't match, but love doesn't mean age. Love is something that you can't compare with age, race, or nationality. You may fall in love at any second when the fate comes no matter how old he or she is.
Gere is a playboy and playboys usually won't ask someone to give him a chance to love you and that's what I like about the movie when he realized that he had finally found someone who he loves. When Gere realized that he had hurt Ryder's heart by having sex with another woman, he went to her house to apologize and express how regret he is. You can see and tell how Gere really cares about Ryder when he tries to find a doctor by asking his daughter (which he never care about and never take a responsibility as being a father) if she can help him. It is so embarrassing to ask someone to help you after you hurt that one's feeling, but Gere doesn't care about it because he loves Ryder so much and he would do anything to save her life. I cried during the last part of the movie .
Ryder is a young lady and she knew how long her life would last so that's why she wants to have an experience about love before she die. Ryder really loves Gere too because she's really jealous on Gere after he had sex with other woman. The last part of the movie really makes me cry.
Autumn in New York expressed how people will regret after they made their mistake and it also expressed how people should cherish their lovers. I guaranteed that I would buy a DVD of Autumn in New York and keep it as part of my treasure too. I loved both actor and actress, Richard Gere and Winona Ryder.
What a great art work!
However, if you want to actually like the characters in the film, and feel sorry for them when bad things happen, stay away. After the first 40 minutes, I was hoping someone would die, to make it interesting.
I can't say enough bad things about this movie. Richard and Winona must have needed the cash, because this was just plain awful.
Will Keane (Richard Gere) is an aging, womanizing Manhattan restauranteur who falls in love with Charlotte(Winona Ryder), an outgoing beautiful twenty-something who is the daughter of a woman he once knew. She inspires him to get in touch with his neglected daughter (Vera Farmiga), but the relationship falters when it's reveals Charlotte has a terminal heart condition and has not got very long to live...
The script uses the terminal illness hook as a means to explore the true nature of sex and romantic love. Although it is continually implied that Will sleeps around, it is never actually seen on-screen until he declares his love for Charlotte. Charlotte's illness and the fact she could pass away at any time, encourages the couple to enjoy every minute they have together. Unfortunately this part of the film is never really sustained with any real momentum.
The initial problem is the script, which does not really offer the characters any strong, emotive or memorable lines that would make the story come to life. The second problem is the lack of chemistry between the two leads. Richard Gere is well suited to his role, and has demonstrated he can play a romantic lead with dramatic dimensions ("An Officer and A Gentleman"). However, a lackluster performance means he disappoints here. Similarly with Winona Ryder, whose ethereal beauty cannot disguise her limited acting ability. Because of this, we have no empathy with her character and the film loses much of it's power as a result. Decent supporting actors Anthony LaPaglia, Elaine Stritch and J.K Simmons are wasted in one-note parts.
At least the film gets the setting right. New York is wonderfully shot around, capturing the autumnal beauty of Central Park and the softly sweeping grandeur of the massive skyscrapers.
That aside, however, this picture is a lifeless waste of time.