User reviews

Simon Colon works in a photo shop and lives with his manic alcoholic mother. He takes photos on the street and starts stalking Rose Phipps (Heather Graham). Rose is an optometrist struggling with the death of her baby son. She tells her painter patient Tommaso Pensara (Dominic Chianese) that he's going blind. These are three lonely suffering people in the crowded city of New York. Tommaso starts dating the younger Isabel Parades (Elizabeth Peña). Rose is estranged from her husband Mark (William Baldwin).

These interconnected characters are not all compelling. I like the weird relationship between Rose and young Simon. It has good potential. I would have expected Mark to stay connected to Rose and interacted with this strange pairing. Instead, Mark simply drifted off on his own course. I'm not as committed to Tommaso and his relationship to Isabel. Overall, this is a slow mover and only parts of it is compelling.

Ah, look at all the lonely people. Adrift in Manhattan focuses on three very lonely New Yorkers whose lives are destined to intersect. Heather Graham has the role which is meant to tie the plot together. She plays optometrist Rose Phipps, a woman who has suffered a great loss and who now lives alone while trying to piece her life back together. Dominic Chianese plays our second main character, Tommaso, an elderly painter, classical music enthusiast and mailroom worker. As we meet him he is being informed by Rose that he is going blind. And then there is young photo shop worker Simon, played by Victor Rasuk. One day Simon sees Rose sitting on a bench in the park and decides to more or less become a stalker, following her around the city taking her picture. He even follows her all the way home, taking pictures of her through the windows. Creepy? You bet.

As the film progresses we learn more about each of these characters. We learn why it is that Rose is seemingly alone in the world. We learn that Simon is extremely shy and withdrawn, apparently having very little idea of how to relate to people. This may have something to do with his mother with whom he has one of the most uncomfortably, bizarrely affectionate parent/child relationships ever seen. The focus of the story really is Rose and Simon. Which is a shame because Tommaso is far and away the most interesting character in the film. We see his frustrations as he deals with his failing sight, blindness akin to a death sentence for this simple but proud man who so loves to paint. And we see him fall in love with a much younger woman from his office, Isabel, played by Elizabeth Peña. Their relationship tugs at the heartstrings, their interactions always compelling. And Chianese and Peña easily give the best performances in the film. Rather unfortunately it seems the movie is always rushing through Tommaso's scenes so the focus can get back to Rose.

The film meanders about, cutting back and forth between our three main protagonists. But the story never really pays itself off. Tommaso is compelling, Rose somewhat less so, and Simon, barely even communicative, hard to identify with. Eventually Rose does something which makes absolutely no sense, something you would never believe anyone in her position would even conceive of doing, and from there the movie really falls apart. For a film which seemed to have some genuine promise, especially in Tommaso's story, in the end it just kind of limply fizzles out. Chianese did excellent work and created a great character and he and Peña work together wonderfully. But the story which surrounds them ultimately falls flat.

Had potential, but falls short of being profound, emotional or interesting. Some nice moments but that's about it.

**SPOILERS*** Originally called "1/9" or the NYC Seventh Avenue subway line that runs the length of Manhattan Island and ends at the tip of The Battery "Adrift in Manhattan" connects three lonely people who live along its route.

20 year old camera store worker Simon Colon, Victor Rasuk, is obsessed in photographing people on the streets, as well as subways, of New York. One day Simon comes across this lady sitting in the park and becomes infatuated with her multi-colored, or rainbow, scarf.The lady in question Rose Phipps, Heather Graham, becomes very agitated, and even frightened, when Simon mails a number of photos he took of her at her brownstone.

We never quite get what Simon's reasons for mailing his secretly taken photos of Rose were but it almost gets him fired from his job. Instead Rose soon becomes almost as infatuated with Simon as he's with her to the point of inviting him into her home and, to Simon's utter surprise and delight, forces him, a virgin, to make love to her!

Like Simon we soon find out that Rose is not all there, emotionally, in that she's estranged from his husband high school teacher Mark, William Baldwin, and is suffering from a deep depression in the tragic loss of her and Mark's two year-old son Casey, Leim De Villa. Rose's sexual relationship with Simon soon starts to effect her work as an eye doctor in her treating a patient of her's the refined elderly and cultured gentleman Tommaso Pensara, Dominic Chianese.

Tommaso is slowly losing his sight and in him loving to paint that's as well has him receiving a slow and painful death sentence. Tommaso is also in danger of losing his job in the mail room in that he can't see the letters and packages in order to correctly distribute them. It's Tommaso's co-worker Isabel Parades, Elizabeth Pena, who not only takes the time to help him out at his job but cover up all his mistakes. Isabel also falls in love with the some 75 year old bachelor who for the first time in years feel that he's wanted for himself not his talents; in his music and his art.

All three main characters, Rose Simon and Tommaso, in the movie interconnect with each other due to their proximity to the 1/9 subway line. And it's that very reason that makes their lonely and desperate lives, who are aimlessly adrift in Manhattan, that much more worth living!

I enjoyed the movie. Didn't expect a lot and was pleasantly surprised by the storyline, the characters and the development. It is one of the movies that doesn't give enough information about the characters (on purpose) so that it leaves you with questions and wanting more. The inter relation between the characters is extremely light so that normally annoying feature actually added to this film.

Some of the features of the movie are a little disturbing but I wouldn't consider them weird enough to prevent most people from enjoying the movie.

For me a 7 means I enjoyed it and would definitely watch it again. I just wouldn't be thrilled to have paid $10 to see it.

Adrift in Manhattan is a small, lovingly made, melancholy film about the intersecting lives of various emotionally wounded people in Manhattan. As I watched the film though, I felt something was "off." Then I realized it, the Manhattan in this movie is much too quiet. I lived in Manhattan for years and one of my overriding memories of it is the constant noise; sirens, garbage trucks, horns honking, boom boxes, crazy people yelling, etc. Yet, in this film Manhattan is a quiet, dignified place. If only! I wonder what the film would have been like if it actually had the background noise that's so much a part of the city. I think it would have improved the film and made the characters' loneliness all the more poignant.

Though there have been many films of late that address the issues of the isolation of the individual in a society increasingly settling for homogeneity, few have the honesty and simplicity of presentation as Alfredo De Villa's ADRIFT IN MANHATTAN. Perhaps the reason this film works so well is that instead of dealing with the usual tropes, De Villa restricts his story to three individuals who are suffering isolation in the noise and autonomy of New York City and are thus 'adrift' in a life that seems flat and without a beacon of hope. The story De Villa weaves is one of interaction of these characters by almost serendipitous incidents, moments that change their lives - at least for a while.

Teenager Simon Colon (Victor Rasuk) lives with his overbearing mother Marta (Marlene Forte) and gets through his life almost without speaking, working in a camera shop, spending his idle hours photographing people in the park. Tommaso Pensara (Dominic Chianese) is an elderly painter and music lover who lives alone and supports himself by being the 'mail boy' in a large firm: his loneliness is heightened when he discovers he has macular degeneration and will go blind. The physician who makes his diagnosis is Dr. Rose Phipps (Heather Graham) who is grieving from the recent death of her 2-year old child and is unable to continue her marriage to literature professor Mark Phipps (William Baldwin).

The threads of coincidence begin to tie these people together when Simon begins to photograph Rose in a manner that resembles stalking, when Tommaso notices and desires and older lady at his workplace, Isabel Parades (Elizabeth Peña) and is encouraged by Dr Rose to share his potential blindness with this friend, and when Rose explores the attention Simon bestows on her, filling an emotional need for both parties. Naturally the development of these intersections is more complex but at the same time the manner in which they develop is very tender and gentle.

Some viewers may find the film meandering a bit too much: this is not linear storytelling but rather shifts in incidents and moods and gradual changes that occur among these simple but needy people, much like the coincidences and random kindnesses occur to the sensitive eye. The cast is very fine and the cinematography and musical score sustain the mood of the piece. This film requires involvement on the part of the viewer, and that involvement has its rewards. Grady Harp

Although I usually find interest in interwoven character story lines from films such as Crash or Magnolia or Babel, I couldn't get my interests up for this one.

Now I'm not here to complain that the movie lacked explosions, action or a whole lot of plot twists - it doesn't attempt to be that kind of movie. The few plot driven elements are rather scarce and are mostly there to drive forward the characters rather then the story. The story itself is never the planned focus anyhow. It is my appreciation that some attention to have a more involving plot would have done the work a service.

In terms of execution (acting, directing) the effort is certainly solid although never really stellar : you won't find anything really worthy of seeing the movie on it's own. The problem therefore is the very blueprint on which the execution rests, and as I pointed earlier, the material given is too dry to make the movie a memorable one.

There just isn't enough happening here to make this one worth the look. Nothing much was achieved, and the journey alone wasn't exactly thought provoking nor entertaining. It isn't awful mind you, just very forgettable.

In Manhattan, where 11 million folks live, one can still feel very alone. Dr. Rose Phipps (Heather Graham) certainly does. She has recently suffered the death of her toddler son and it has caused her marriage to fall apart. Ex-husband Mark (William Baldwin) lives elsewhere and has tried a new romance, with mixed results. Meanwhile, Tomas, a mail clerk by day and a painter by night, is startled to learn he is going blind. This news was delivered by Dr. Rose, who urges him to call his family for support. He has none. However, Isabel (Elizabeth Pena) is a co-worker who has his best interests at heart. Finally, Simon (Victor Rasuk) is a twenty- something who works in a photo shop and takes artistic photographs on the side. Unfortunately, his mother is a troubled lady who drinks too much, never having got over her husband leaving her. She has made incestuous gestures to her son, which has left him shy and a virgin. Spying Rose on the street, as these folk all live and work near each other, Simon begins to take photos of Rose, beautiful ones. Is he interested in Rose as a woman? How will all of these troubled lives go on? This stunning film is very touching, very disturbing in parts, and very adult. Though not overly described, the topics of masturbation, incest, and voyeurism are present. This will tell some viewers to "stay away". Yet, the stories are touching as these flawed folks have sad and lonely lives but might, finally, establish connections with others. All of the cast members, Graham, Baldwin, Rasuk, Pena and the rest are quite wonderful. This term also applies to the scenery, script and thoughtful direction. If you can get past a touch of objectionable material, Adrift in M is a piercing examination of the human experience.

I really enjoyed this movie. The film has this touching relationship between Heather Graham's character and the young man obsessed with capturing her in photos. At first, I was afraid it was borderline stalking, and I kept on waiting for something bad to happen to the young man. Gradually, the boy's photos reveals something deep and personal about Heather Graham's character. When they do finally meet, the outcome is surprising. All the actors put in good performances, especially Heather Graham. If you like character driven movies, then this movie will appeal to you. I also like the pacing of the film. It's slow and methodical. Often films rush through their stories, but this one takes its time.

I loved this movie. The feeling and pace was graceful, the cinematography and music wonderful. There's loneliness and loss here, but it's covered in a way that makes you just fall in love with the characters and care for them, hope they come through. For those that can identify with the vib of New York, the film is likely to be appreciated even more, as elements of the subway and streets come through realistically.

This movie visits the lives of three different people, and how they coincidentally intermingle within the movie time line. The other characters in the movie add some color and background, and do well also.

I've watched this movie multiple times and every time I come away satisfied, and more so: inspired. You can use this movie to better your life, to better your art. Strongly recommend watching it on a quiet, relaxing night.

I recently had the distinct pleasure of seeing Adrift in Manhattan at the HBO Latino Film Festival in New York. The film made me laugh, almost brought me to tears and definitely kept me on the edge of my seat. The character development is unbelievable in this film. Heather Graham, William Baldwin, Dominic Chianese and Victor Rasuk (who I have loved ever since Raising Victor Vargas) all give multi-dimensional performances. Victor's character drew me in; Heather's character kept me guessing. You could tell there was something wrong by the distant/ unhappy look in her eyes. William Baldwin was extremely convincing as a husband trying to reclaim his life. Most impressive of all was Dominic's performance. It truly almost brought me to tears. Oh, this movie also has a VERY STEAMY SEX SCENE!

I often get annoyed at movies like this, where you get too many character threads interweaving. These types of films tend to spend too little time on the characters, and thus have to rely on superficial plot twists and clichéd conflicts. I put Crash and Babel in these categories. Both enjoyable enough films, but they fail at their core because they focus too much on the events that the characters face, rather than their response to them.

Enter "Adrift in Manhattan." The ambition here is less than a Crash or Babel -- it's not trying to explain the modern angst of society or draw global interconnectedness links -- but rather to simply explore the lives of a small group of characters in a one city whose lives happen to intersect. As a result, we get to really know them, see what's driving them (shockingly, through their acting and the filming, and not uninteresting plot twists -- most of the intense events that drive them all took place prior to the film), and then watch how it unfolds. There are no neat plot resolutions. Rather, the characters are left with their lives, but hopefully with a more evolved sense of where they fit in it, and how to take control of it. For me, this is great storytelling and a perfect kind of character-based film.

In addition, nearly all of the performances are exceptional. Heather Graham seems to have pushed herself in a completely different direction from her typical fare. Anyone who thought she was just fit for light-hearted role (and I include myself in that group) is in for a remarkable surprise. Her character is grieving heavily, but Graham never overdoes it. Instead, she lets the grief speak for itself, and the result is undeniably moving. Ditto for a handful of moments that are truly hysterical. It's a revelation to see her play a comedic moment in a drama without laying it on. Similarly Victor Rasuk is exceptional, particularly given the dearth of actual lines he has. His eyes, his posture, and his hesitancy give his character the depth that it needs. He's a completely different character from the one we saw in Raising Victor Vargas. Withdrawn, shy, insecure... and yet, his camera convincingly and effectively draws him out of that. And perhaps the sweetest storyline is that of Dominic Chianese and Elizabeth Pena, whose tentative romance is one of the most tender I've ever seen on film.

This movie is an honest 10. Everything in it is earned. The script is very strong, and not overpowering or contrived at any point. The cinematography is beautiful, and really catches the flavor of a real and gritty Manhattan. And finally the direction is superb. Given the tightness of the script, the movie has to rely on shooting to really show us the characters and what they are feeling. And it does so exceptionally. I recommend it unequivocally to anyone who enjoys a very well crafted character-based drama.

The director's deftness in quietus and deep story telling was truly moving in this movie. I believed and was heart felt by all the character's love connections and especially the beautiful love story between older couple Tommaso and Isabel really killed me... The Oeudipal relationship the son has wih his mother was totally believable as well.

It is a NY movie and thank god for it. That kind of intersecting of lives with a voyeurisitc view. In the Big City that never stops. To love, to die, to suffer, to think, to live. I am now totally obsessed with this Mexican American director Alfredo de Villa and look forward to this next movie. Just saw his other Sundnace movie Washington Heights and again the torn artist should was caputured beautifully and more importantly- wamrly. Vivre la indie film and excellent job!

i had never heard of this movie so i usually go for the unknowns as it will be wonderful or just awful. i lucked out because this movie is delightful in every way!! and i cannot state that enough!

the director - Alfredo De Villa & the writers have brought to the screen a story that gets beneath the often hard shell we surround ourselves with on a daily basis. everybody has problems and issues and desires that can fog our daily lives. and this story brings three people (unknowingly) together that make a difference in each of their lives.

i will not get into the details of this movie because discovering them for yourself is part of the pleasure in watching these three discovering parts of their own life (does that make sense).

by all means make this flick a quest in your movie watching!!!

This movie is a pleasant surprise that returns faith in American movie, the faith that has been suffering for a long while, recovering just rarely by Tim Burton's work or movies like "Eternal Sunshine..."

We – especially us who live outside USA – have been exposed to so much Hollywood vain, shallow, plastic movies in range from superhero action violence and funless teen comedies to the worst movie blasphemies - remakes, that we use to forget that there are small movies untouched by Hollywood lethal sauce. Even masterpieces like Big Fish, Edward Scissorhand, Chocolate, Green Mile (or already mentioned Eternal Sunshine of Spotless Mind) have a clear Hollywood sign, and after all those Rambos and American Pies, comics based blockbusters and remakes of French movies (what is additionally ironic because average American movie consumer would rather see a rattlesnake on the floor than French movie on the screen) this touch of Hollywood became odious, what is a tragic decline for this old temple of movies... just few decades ago the touch of Hollywood style was the best praise a movie could be given.

Adrift in Manhattan is more European style than any American movie I've seen for a long while; even more, it is more European style than many European movies made in last two decades. Too many European movie makers make movies to fit into Hollywood standards, hoping it will sell better; now, American authors teach Europe a lesson how good a movie can exist without Hollywood sugar, false glamour and forced tears.

The basic thing that connects main characters in the movie is loneliness. Though set on Manhattan we don't get the feeling that the big city is the prime suspect for their loneliness, they would probably be lonely everywhere on Earth. Not only that, but somehow New York eases their pain and helps them find each other, find them the way to tomorrow. And this is one of those things that are so often in Europe, a kind of love stories between director and his city, an ode and praise to it, something that American authors so rarely give us.

The second feeling mutual to the characters (besides loneliness) is guilt. They all carry a burden of old mistakes on their conscience – even if they aren't really guilty (from our point of view). And their loneliness grows not only because this burden presses them too hard, not only because they are ashamed, but mostly because they are afraid to share it with anybody. And only learning to open their souls to another person – whoever it may be, the more unknown stranger the easier it can be done – can give them hope, a chance for redemption and leaving this guilt behind them. Sharing a burden reduces the pressure. And as we follow these people, we will see how some relations terminate because of total loss of communication, while others appear and develop once the shell softens.

There are no breathtaking performances in the movie, but all the actors made a good job. Personally, I find Dominic Chianese a bit above the others, but it was a most interesting character so the role offered more chances, more challenges. The unobtrusive music was well aligned to beautiful photography, camera loved both the actors and the city.

This movie gave us a picture of some other New York than we usually see, and a completely different picture of American movies than we are used to watch.

I found this DVD at my local library, going out of rotation. Never heard of it, but I'm a fan of the late Elizabeth Pena, so borrowed it. For some reason I assumed it was about drug dealers (?) so was delightfully surprised when I had a lovely, smiling feeling at the end. Well done study of 3 lonely NYC dwellers.