Slaves of New York

More than 27 years now, this small, iconic film still dazzles and resonates with Manhattanites everywhere. Released during one of the most acclaimed periods of film-making, Slaves of New York captured what was the bold truth of 1989's colorful, downtown social scene, combined with witty writing and edgy imagery. Tama Janowitz's observation about the city's real estate market, narcissistic artist class, and ruthless social scene was fresh, then, and, due to modern day gentrification, has become far-flung, telescopic memories of days gone by. If Slaves of New York does seem a little faded, it's not because it's become dated, but because it's become timeless!Eleanor (Bernadette Peters), an inspiring hat designer, strives to live the mid-class life in what is known as the "homeless" privileged class of lower Manhattan. Scratching and clawing to survive in the Big Apple almost seems like an unrealistic concept for a woman who constantly wears her heart on her sleeve, but Eleanor greets each day with her head held high and her pet Dalmatian at her side. Bernadette Peters gives a heartfelt performance full of joy and bubbling with excitement. Granted, her character has an abundance of insecurities, and often feels unsure about the trials of life, but these issues slowly fade once she discovers her own identity and breaks free from the mental abuse inflicted by her roommate, Stash. An independent artist in downtown NYC, Stash resides in a high-rise loft, where he shares living quarters with Eleanor, and takes her on one hell of an emotional roller coaster ride. I say this with extreme conviction: The character, Stash, literally makes my skin crawl! This man is a monster. I find myself uncomfortable as I watch his performance. And, quite frankly, it shocks me to witness such self-centered, narcissistic behavior – foul behavior that mutates from beginning to end! Every spoken word, every sneaky step – his rancid attitude and lack of compassion are all too much to register. Stash's friend/new lover, Daria, is what many people would consider to be a heartless maneater. In fact, she was a slithering snake who cheated death during what I like to call, "the ladder scene." I am familiar with every aspect of downtown NYC, and I've closely examined every second of this scene, so I can say with certainty, that if she fell backwards off the escape ladder, in the air, as high up as she was, then she would have just missed the pile of garbage that sat directly under the ladder and would have died instantly from the impact of the concrete! Both Stash and Daria carry themselves with zero respect and hold little to absolutely no accountability for their self-loathing, self-destructive behavior. It's one thing to behave recklessly toward each other, but when you make it a personal crusade to destroy the lives of your dear friends, companions and acquaintances...well, there's just only so much that a human being can take until they explode! What I find most distasteful is the fact that Daria has chosen to finagle her way into the lives of two close friends, only to belittle and undermine another female, then completely phase her out. Sisterhood certainly should have prevailed. I guess it just goes to shows that, when it comes to rivalry, women can be more brutal than us men. Not only are Stash and Daria selfish and vicious, but each feed off of the other's negative energy, like a pair of slimy leaches; the two absolutely deserve each other! The climax is quite exhilarating and occurs during the fashion show, when Stash discovers Eleanor on the runway as she's greeted for her work, by Wilfredo. That moment was, in my opinion, the bitch-slap that Stash desperately needed all along. The pain and heartache endured from her recent past becomes a mere memory now because she's finally made a name for herself and, in her words, is "busy celebrating being single and successful."In film, progression is inevitable, and fashion comes and goes with the blink of an eye. So when it comes to retro vs modern cinema, the one thing that I really enjoy is watching the evolution of my favorite actors and actresses, from one movie to the next. This dynamic comedy has a few of my favorites as well, including Nick Corri (Jsu Garcia), who plays Marley, a struggling artist/painter with aspirations of fame and wealth, as well as the hope of securing a grant to build his artistic chapel in Rome. His good friend, Sherman (Charles McCaughan), also paints and values his friendship with Marley. Both characters maintain a solid relationship, even after Marley sleeps with his girlfriend, Daria. I am a fan of Nick Corri, so I'm well aware of his work, and his appearance in this project is most prominent. Steve Buscemi has a great deal of appeal as Wilfredo Sylvain, a designer/big time buyer, who runs his very own clothing shop in Midtown Manhattan. Wil is a laid back, consummate professional with fashions that run the gamut, from leather jackets to aquatic-themed fur coats. He serves somewhat as a savior to Eleanor in the sense that he simply discovers her and shapes her future. I'm in complete awe of Steve's performance and I can't imagine this film without his presence! Chris Sarandon is the suave, slick, Victor Okrent, a no-nonsense art promoter, who operates his own art gallery and often clashes with the childlike attitude of Stash and his lack of principles and respect. Samantha (Mercedes Ruehl) and Darryl (Stanley Tucci) are lovers and soon-to-be expectant parents. Sam is a recovering drug addict and has been clean for two months, but, at the neighborhood softball game, she reveals to Eleanor that she's relapsed and has recently contacted her dealer. She also reveals that she's pregnant. Yes, this film is a situated comedy with its fair share of reality, but I think that the portrayal of a newly pregnant, drug-addicted "party girl" was awfully gutsy for its time, not to mention a real tragedy! Of course, this does not affect my appreciation for the actress herself. Mercedes Ruehl won me over in "Gia" and stole my heart in the Gwen Arajo story. My loyalty to her as an actress was established years ago and is firmly set in stone. Jan (Michael Schoeffling) is Eleanor's new love interest and shows up at approximately 15 minutes toward the end of the film, but he makes up for lost time by dominating every remaining minute on screen. It appears as though Eleanor upgraded her taste in men to a stud who rides a snazzy motorcycle and makes a living selling racehorse semen. I mean, what more could you ask for in a boyfriend?!—Joking! In the spirit of art and fashion, I think it's important to point out that Michael was, in fact, a fashion model in the early '80s. He then made a jump into acting, starring in his first featured film (and one of my all-time favorites): "Sixteen Candles." Michael then went on to star in another gem: "Vision Quest." Mr. Schoeffling happens to be one of my favorite actors and I own most of his cinematic work. And even though he decided, decades ago, to leave Hollywood in his rear view mirror, his legacy will forever carry on in the hearts and minds of fans near and far. I fully respect him and his work.I don't think it's an easy task for any major film fanatic to claim one scene as their sole favorite. This includes myself, for I know that it's impossible. However, I can list several personal favorites that I find positively remarkable. For starters, the scene when Eleanor visits Wilfredo's studio for the first time to attain her dress. I mainly adore the music and the style of his shop. Both Peters and Buscemi have undeniable chemistry together on film! Then comes the sidewalk scene with what I like to call the 3 Supremettes. It touches my heart when I watch that particular scene. And when you factor in the cold temperature and flawless lip-syncing, you really have no choice but to consider the entire scene legendary! Also, the coat-signing scene at the art show, when several attendees decide to tag Eleanor's plain pink vinyl jacket with black and silver permanent markers. Surprisingly enough, the jacket turned out great and looks totally wearable! The ultimate scene takes place outside after the runway show, when Eleanor finally decides to bite back and gives Stash a piece of her mind. Basically, any scene with the pint-sized beauty herself, Bernadette Peters. This talented actress packs a punch on screen! There's a cutesy, charming essence to her style of acting, her articulation and appearance that are all impossible to deny. I have the utmost of admiration for her.The soundtrack, at the time, was just as profound as the film itself. Public Image's "Warrior" is rather fitting for the overall atmosphere of this movie, but we only hear a 5 minute sample during the fashion show. "Good Life" by Inner City represents the hunger one has for the finer things in life, and the determination to maintain such a lifestyle. Neneh Cherry's "Buffalo Stance" (one of my favorite songs from my early childhood) plays precisely as Eleanor and Stash are exiting the party. And Joe Leeway (from Thompson Twins) makes an appearance with what I think was the debut song from his '89 solo project. The beat is actually very infectious, but I'll always prefer Joe as one third of the Thompson Twins.Every aspect of this film is visually stunning; the striking sets of artists' studios, the dance clubs, wild fashion shows, even the meat-packing district has significance, for it is simply nonexistent in 2017. While it's true that it failed to connect with audiences and critics at the time, the movie has gone on to find new life with younger generations of fans. So do not concern yourself with negative reviews because I proclaim not one second of boredom while watching the entire 124 minutes! Although I must admit my discontent with the ending; I refuse to spoil the finale, but the way the scene plays out leaves you to ponder Eleanor's immediate future with herself and her new beau. With that said, I now have developed, to a degree, a sentimental attachment to this movie, and anyone living here in New York City could easily appreciate the raw honesty from the script and the genuine depiction of what's known as the last days of good ol' Manhattan. Slaves of New York makes me feel incredibly thankful for the past, and that much more grateful for the digital era of today!

I am an artist. I will watch a commercial in earnest if it has art in it. I watch/listen to DVD's about artists or films related to art while doing art. I have watched/listened to the sub-titled French film "Camille Claudel" at least 100 times. No matter I don't speak French! lol.I used to have this film, "Slaves of New York" in VHS and lost it. My sister reminded me of it again, so I got it in DVD. It is darn quirky and fun and it feels inspiring to me. The characters are doing whatever they can to find a gallery and be seen, they are filled with insecurities and some success'. Been there! I've watched it 5 times already and I just got it!

So many great actors. 💕 Steve Buscemi as a club kid fashion designer.

Good, interesteding

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.

As I understand it, "Slaves Of New York" is based on a series of short stories, with Bernadette Peter's character having the task of sewing it all together. It's no small coincidence that her character can't sew well. The basic premise of the film is that he who has the lease owns the people who come to live with him. It sounds like a line out of "Dune" but soon reveals itself to be a way the characters rationalize their weak behavior; they can't afford a place on their own, so in one way or another they prostitute themselves to someone who has a place, be it as a friend or lover, or..., and having to put up with that person's bad behavior and maltreatment of them, they refer to themselves as slaves. Not quite the same thing, but let's keep moving.While this may very well be based on short stories, it comes across more as an idea hatched over dinner, where Mess'rs Merchant and Ivory and friends all recounted their experiences in New York, in the 80's and someone said "That would make a great movie!" which might be true, but not by Merchant Ivory. It's something of a relationship movie, running beneath a collection of period images; images that for no good reason show up on multiple screens (long before the computer made that common place) and occasionally as an overlap. The movie wants to look artsy, but it isn't.One of the main problems is the choice of Bernadette Peters as the lead character, a young hat designer who's sharing the flat of a selfish, domineering, and manipulative male artist of some local note. Ms. Peters is a one note actress, whose performance hovers between stressed and melt down; suggesting a character in an Woody Allen movie, except that she can't even convincingly evoke a neuroses well enough for that. When she achieves her first flash of success, and gets her own place, her "boyfriend", comes back to "let her make up with him" for their break up, and in a scene that lasts only a couple of minutes, the best she can manage is "You're a Jerk!". We knew that, but that's all you can say?Merchant Ivory was a film company that not only produced a number of classic films, but became a title for a genre of films; the lush productions of costume dramas set mostly in Britain or the US a century or so ago. To that end, while this was filmed as a contemporary piece, enough time has passed to see it as a period film, and the costumes, especially those worn by Ms. Peters, evoke a truncated, punkish interpretation of the Edwardian costumes in their bigger films. Also of anthropological interest is the hair. Oh my! "Big Hair" doesn't quite do it justice, this 1980's penchant of the indigenous tribeswomen of the NYC/NJ area for overwrought, massive hair-do's. "White woman's 'fro" would be one suggestion, but the construction of these monuments to bad taste are far more contrived than organic. Not since the Sun Kings partied at Versailles has women's hair looked this ridiculous. The hair in this film makes even the period 'dos of "Moonstruck" look conservative.I read that this has become a cult film in the Gay Community, for the scene of the drag queens playing the Supremes, which I must admit is a rather memorable scene, especially as it interplays with a messy argument between Ms. Peter's character and her "boyfriend".Still, unless you came of age in the '80s, and can't leave it behind, or have an inexplicable attraction for the period, the way I did, back then, for the '30s and '40s, I can't see wasting the time on this unfortunate film.If, on the other hand, you've recently watched "Take This Waltz" and "Tiny Furniture", two films of adult children struggling in the Real World, this might be a worthy piece to add to your study. It is interesting to note how childish, "Childishness" has become since the 1980's!