If you look at Martin Scorsese’s output from 1973 to 1980, almost every flick stands out in some way. I think 1973’s Mean Streets is flawed, but it acted as a strong statement of the filmmaker Scorsese would become. 1974’s Alice Doesn’t Live Here Anymore demonstrated that he could create a commercial success under the studio system.

Both 1976’s Taxi Driver and 1980’s Raging Bull earned critical plaudits and remain two of the best films in Scorsese’s filmography. Both also landed on the AFI 100 list of the top movies ever made. In between, Scorsese also directed the concert flick The Last Waltz, arguably the greatest concert movie of all.

And then there’s 1977’s New York, New York. Like Spielberg’s 1941, New York acts as the ugly stepsister in the midst of a stellar run of films. The movie pretty much flopped with critics and audiences and has become the odd man out when people look at Scorsese’s Seventies output.

There’s a good reason for this: the movie stinks. Lots of times movie fans look back at unsuccessful flicks and find hidden gems, but that’s not the case with New York. This dud deserves to remain ignored.

New York opens in August of 1945 on “VJ Day”. We meet slick womanizer Jimmy Doyle (Robert De Niro) as he hits on babes with the same lines. When he approaches Francine Evans (Liza Minnelli) he hits a brick wall but he won’t quit. The two spar in future encounters as well, but they eventually end up forced together when a club owner (Dick Miller) will only take Jimmy as a sax player if singer Francine is part of the act.

Despite some of their earlier friction, the pair quickly become a couple, though a long distance one when Francine gets a job on the road. Jimmy soon joins her. The rest of the movie follows the continued ups and downs of both their romantic lives and their professional careers, especially as Francine becomes more successful than her mate.

Scorsese and De Niro enjoyed many terrific collaborations over the years, and the actor usually actively improved those efforts. He was the best thing about both Raging Bull and Mean Streets, and he was strong in their other movies. Except for New York, that is. For the first time, De Niro actively harmed a Scorsese flick.

De Niro is radically wrong for Jimmy. While the character requires some edge, De Niro offers nothing but edge. When he tries to play the chatty scam artist, he lacks charm and simply brings on the aggression. He’s too dark to be a good con man, as he fails to portray any suave likeability. It feels as though De Niro couldn’t turn off the intensity he brought to Taxi Driver, for he turns Jimmy into an intimidating heavy. There’s no modulation to the performance; whether happy, angry or sad, Jimmy’s always scary.

On the other hand, Minnelli doesn’t bring anything other than a vague weepiness to Francine. As an actor, she’s out of her league compared to De Niro. He may take an oddly intense tone for Jimmy, but at least it’s clear he can act. Minnelli fails to convey much real personality for Francine. She’s nothing more than a dull dishrag.

The film attempts some of the snappy interplay we expect from this sort of film, but again, it flops. Largely that’s because there’s no chemistry between De Niro and Minnelli. At no point in the film does it make sense that they become an item, and the movie gives them no scenes that convey affection or compatibility. They’re together because the film requires them to be together.

Granted, some of this stems from the nature of the production. Scorsese went for a variation on the classic musical, so the use of an unlikable lead and many artificial elements comes with the territory. That’d be great if it worked. However, the movie fares neither as spoof or reconstruction of the genre.

The virtual absence of a plot doesn’t help. The movie focuses entirely on the relationship between Jimmy and Francine, and it rarely broadens beyond that focus. Most musicals toss out complicated production numbers, but we get none of those until the Happy Endings sequence at the end. That shows the movie made by Francine, so we finally see an elaborate series of musical bits.

Otherwise, the rest of the movie’s tunes come from stage performances. Those don’t present real production numbers with dancing and whatnot. Instead, they display simple band shots and don’t become interesting. The musical pieces also slow down the film terribly. New York approaches the three-hour mark, and that’s way too long for a flick with so little story or anything else to occupy our attention.

With some nice musical numbers, perhaps I’d be able to recommend New York, New York to fans of that genre. However, it lacks entertaining production sequences and also fails as a drama. It presents one-dimensional characters and little discernible plot. From start to finish, this flick’s a dull dud.

New York, New York appears in an aspect ratio of approximately 1.66:1 on this Blu-ray Disc. This was an inconsistent image but it seemed to represent the movie fairly well.

Overall definition seemed good. The movie favored a gauzy photographic style, so expect some softness along the way. However, this usually appeared to fit the desire cinematographic effect, so I thought sharpness was generally fine. No issues with jaggies or shimmering occurred, and I noticed no edge haloes. Source flaws were minor; I noticed a few small specks but nothing more.

Colors varied from bright and vivid to somewhat messy. The latter were noticeable mainly due to period bouts of heavy grain; that element affected the clarity of the hues. Usually the movie presented fairly vivid and rich tones. Blacks were deep and tight, and shadows were decent. Low-light shots didn’t offer great smoothness, they seemed reasonably clear and viewable. All of this was good enough for a “B”.

Although the DTS-HD MA 5.1 soundtrack of New York, New York never dazzled, it was more than adequate for a movie of this one’s age and scope. Audio remained heavily oriented toward the front. Frankly, if any surround usage occurred, I never detected it. The front speakers offered fairly good stereo imaging, and some light ambience also spread across that area. The soundfield didn’t go for much ambition, but it seemed satisfying.

Audio quality was consistently good. Speech sounded warm and natural, with no issues related to edginess or intelligibility. Music didn’t demonstrate immense dimensionality, but the songs were reasonably bright and vivid. Although effects played a minor role, they were always tight and accurate. I found the mix to complement the material and work just fine.

How did the picture and audio of this Blu-ray of New York New York compare to those of the 30th Anniversary DVD? Audio was a wash, but visuals showed improvements. The Blu-ray was tighter, with clearer colors and fewer print flaws. It offered a good step up in picture quality.

Except for some photo galleries, all of the DVD’s extras appear here. We can watch the film with an introduction from director Martin Scorsese. In this five-minute and 36-second clip, Scorsese reflects on the artifice of “old Hollywood” and his use of those styles in the flick as well as a few other appropriate topics. The director discusses his goals and helps set us up to view the movie.

Next comes an audio commentary with Scorsese and film critic Carrie Rickey. Both sit separately for this edited track. The piece starts like a house of fire, but unfortunately, it quickly stagnates.

Rickey pops up infrequently, as she mainly discusses themes and interpretation of events. Scorsese starts out with a great look at his Influences and his prior films, his desire to rework the musical, stylistic elements and what he wanted to do with the flick. Toward the end, he chats about the movie’s reception and issues connected to the Happy Endings sequence.

All of those bits are good to great. Unfortunately, the commentary comes with dead air. Lots of dead air, as a matter of fact - acres upon acres of nothing. The track suffers from so many gaps or segments with very little content that I almost bailed on it. When I review commentaries, I don’t “sample” them like some others; I sit through them in their entirety.

However, I was damned tempted to give up on this one, as all that emptiness became too much to take. The track has some good moments; it starts very well and tosses out nice material toward the end. It’s all the silence in the middle that makes this a very disappointing commentary.

After this we get a collection of 15 alternate takes/deleted scenes. All together, these fill 19 minutes and 14 seconds. Don’t expect lots of true deleted scenes, as this area mostly presents unused takes. For the new sequences, we mainly see more of what a cad Jimmy is. The different takes and the cut scenes are moderately interesting, but none of them seem any better than that.

After this comes the two-part The New York, New York Stories documentary. Taken together, these segments fill a total of 52 minutes, 28 seconds. We get movie clips, archival elements, and interviews with Scorsese, producers Irwin Winkler and Robert Chartoff, cinematographer Laszlo Kovacs, and editor Tom Rolf. “Stories” looks at the Winkler/Chartoff partnership and how they developed New York. From there we hear about how Scorsese came onboard, casting and performances, influences, sets and visual choices, music and production numbers, editing and thoughts about the film’s reception and legacy.

While I can’t call this a great documentary, it offers a fair amount of good information. The structure meanders a bit at times, and we find far too many film clips; those tend to slow the piece too much. Still, the details prove revealing, and we get a good feel for the production. It’d be nice to hear from more members of the crew or cast, but this becomes an enjoyable program.

Liza On New York, New York goes for 22 minutes, eight seconds. The actor discusses growing up in show business as well as aspects of working on New York. As with the prior program, this one suffers from too many movie shots, but Minnelli fleshes out the segment with some fun stories. Of course, she tends to gush about the greatness of the others involved, but at least she adds a mix of good thoughts about her experiences.

Finally, we find commentary on selected scenes from cinematographer Laszlo Kovacs. His chat lasts 10 minutes, 14 seconds, as he talks about some technical elements. He provides a few interesting notes in this short piece. Two trailers finish off the set.

Is New York, New York an homage, a parody, or a reconstruction of classic movie musicals? That’s a good question, and not one that the flick adequately answers. It includes all of those elements but mushes them together into a plodding piece with little substance or entertainment value. The Blu-ray brings us generally positive picture and audio along with some inconsistent but usually informative supplements. I can’t recommend this dull film to new viewers, but established fans should be fairly happy with this release.

To rate this film visit the original review of NEW YORK, NEW YORK