Washington Heights

"Washington Heights" is a gritty slice of life and death in a New York City neighborhood near the George Washington Bridge. A young artist and illustrator is struggling to find his place and work and has female problems as well. After his father, a bodega owner, is shot and paralyzed by a robber, the artist must take over the store, and discovers other problems, one of which shows him some direction. A good storyline, editing, and performances make this film a success. I did not feel like a distant observer--I was drawn in quickly--a good sign.

WASHINGTON HEIGHTS (2003) **1/2 Tomas Milian, Manny Perez, Danny Hoch, Jude Ciccolella, Andrea Navedo, Bobby Cannavale, David Zayas, Callie Thorne, Judy Reyes. Well-acted morality tale about a talented illustrator (Perez) with dreams of having his own comic book finds himself trapped in the titular neighborhood where he is forced to aid his recently stricken father (Milian) to run the family bodega. Conflicts and conscience run high with the feel of early Lumet or Lee thanks to newcomer Alfredo De Villa's use of digital video to give the film a feeling of intimacy and closeness that parallels the claustrophobia felt by the main characters. Familiar yet watchable.

Washington Heights is geared toward the Latino community. A nice movie about a small community inside a giant New York city. Much like its audience, the movie itself was made by the efforts of Latinos. While the movie focuses on the main character and his interactions with his friends, enemies, parents, and girlfriend, the movie's strongest link is the side story of the Father. It is the relationship between the Father and the Son that keeps many audience members interested in what is going to happen next. Instead, the story jumps too much between the side stories of the friend who wants to go bowling, his girlfriend who is making dresses, and the neighborhood that jumps in and out of everybody's lives without warning. In the end, a nice story that hits home on many levels. The story about a father and a son who were never Father and Son is the strongest link in this movie's chain.

In 1973, Martin Scorsese revolutionized contemporary urban drama in film with "Mean Streets". Every movie about crime or blue-collar neighborhoods made since then--from "Godfather, Part II" onward--has owed much of its visual sensibilities, dialogue, and plot to Scorsese's early masterpiece. And the unfortunate side effect is that too many filmmakers try to rip it off almost completely (ex: "Sugar Hill", "Monument Ave."). "Washington Heights" is the latest of such travesties, and one of the worst I have seen.

The film is about a Carlos (screenwriter & producer Manny Perez), an aspiring comic book artist living in the Washington Heights neighborhood in New York City, his disapproving immigrant storekeeper father Eddie(Tomas Milian), and his stupid best friend Mickey (Danny Hoch). When Eddie gets shot by a robber, Carlos has to take in the old man and run the store for him, much to the chagrin of them both. Plus Mickey thinks all his problems will be solved if he can just scrape together $5000 to get to a bowling tournament in Vegas, all his problems will be over. If you remember Robert De Niro's character in "Mean Streets", then you can guess how Mickey gets the money and what happens to him.

As for Carlos, it is very hard to sympathize with this guy. He is angry all the time and is forever acting superior to his father, his girlfriend, his friends and his customers. And I've seen the artist son vs. the practical dad once too often in movies to be particularly affected by it. That part of the film is done more artfully than Neil Diamond's version of "The Jazz Singer", but not by much. The only truly interesting, likable character with interesting things to say is Eddie, the father. But he's hardly in the film.

Aside from the cliched script, there are several technical aspects of the film I didn't like. First, it was shot with hand-held video cameras, which gives the movie a "Blair Witch" feel: the colors are washed out, the picture is never completely in focus, and the motion of the camera-man's walking make the frame bob up and down all the time. Also the audio was rotten, so the dialogue was difficult to hear (although that may have just been a deficiency of the theater I saw the movie in). And it has all the usual flaws that "Dogma 95" fans find so endearing, but the rest of us can't stand: over-long silences followed by over-long improvised dramatic monologues, 30-second shots of a character doing nothing interesting, and amateurish post-production.

"Mean Streets" still teaches young filmmakers how to make a splash with a film. Unfortunately, it does not teach that lightning rarely strikes twice in the same place, and that you can't make much of an impact with somebody else's ideas. "Washington Heights" tries very hard to be faithful to the first lesson and to ignore the second, but Manny Perez is no Harvey Keitel, Danny Hoch is no Robert De Niro, and Alfredo De Villa is certainly no Martin Scorsese. 5 out of 10.

I loved this film from the moment La Vida es un Carnival started till the end. It avoids so many of the cliches that other immigrant stories fall prey to, and instead gives us a real snapshot of the lives of a handful of characters in this New York neighborhood. I can't stand films where everything is so neatly wrapped up and by the end all of the characters' conflicts are resolved. Instead, this film let's us see a handful of very alive characters fight to pursue their dreams against the barriers of their families, history, loves, and, most importantly, themselves. By the conclusion, we don't know all the answers of where they'll be, but we know who they are, and we care about them immensely. Nat Moss and Alfredo de Villa deserve a huge round of applause for having written such a touching and compelling story.

The movie is also beautifully shot, with de Villa's hand adding to the text as all great directors do. In one fantastic scene, we see one of the characters joyfully announce his engagement, ask for help from his friend, and have his friend reveal that he cannot help due to a debt between their fathers. The character then responds in anger to the fact that his father would help his friend, but not his own son. As tightly as the scene is written, it is shot equally well, with the camera following the characters through the bodega, keeping up their increasing intensity. The shooting adds to the scene immensely. There is also a beautiful sequence that is set up over many very brief earlier moments where we see a real transformation in the main character's artistic direction (he is a cartoon artist). I was struck while watching it how hard it is to show in a film the growth of an artist, or even the creative process. Yet here de Villa does so brilliantly, making it completely believeable.

Finally, the acting in this film is fantastic. As the star Carlos of the film, Manny Perez wonderfully alternates, like his neighborhood, between the high energy of his ambition, the frustration (and ultimate satisfaction) of his family ties, and his ambivalence about where he belongs. Tomas Milian turns in an Oscar-worthy performance as the father/bodega owner. And numerous smaller roles reveal potential stars, including Danny Hoch, who is brilliant from start to finish, and Bobby Carnavale, who steals the screen nearly every moment he's on it.