The mixing of genre isn’t confusing, it’s just not palpable for either of the soundtrack.
Scorsese’s take on the musical genre is so Scorsese that I find it amusing at first rather than impressed. For almost three hours, each frame, characters and elements are yelling proudly that they are in the director Martin Scorsese’s film. Yet, with his signature method and skillful techniques, this is a troubling and unsettling film. In a way, it is orchestrated to be. But then it is also orchestrated to be a delightfully eye opening adventure. This is how he treats this love story as. An adventure. Thrilling. Conning his way out, Jimmy Doyle played Robert De Niro is told to be up front on the stage as the manager who controls the energy of the room.
He holds an incredible amount of energy in him, and is bouncing across the frame like an energy ball ready to rock, roll and burst. And if he is holding that impressively attracting part of the argument. Francine Evans played by Liza Minnelli gets a better deal. Whatever Jimmy is doing to himself, others and the film, it is affecting majorly to her just like an audience. The only difference is that she gets to speak up.
Which then creates this intensely throbbing and stereotypical couple’s fight keeping us at the end of our seats, satisfied. To pack a gusto, in his work, Scorsese has embedded issues like personally or physically unstable and professionally vulnerable situations to checkmate his characters as much as he can. And it works. The only thing that we forget in that moment, is that it is a musical. And every now and then, it has to groove, either with a sad air in the room or a celebratory champagne in the hand. New York, New York is probably titled for the best, it couldn’t have craved for more drama and got away with it, by any other name.