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Lulu on the Bridge (1998)
Tomatometer
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Reviews Counted:8
Fresh:0
Rotten:8
Average Rating:3.6/10
Synopsis: When jazzman Izzy Maurer (Harvey Keitel) gets shot and loses his left lung, he is forced to face the future without his saxophone, without the music that was his life. When he stumbles over a dead... When jazzman Izzy Maurer (Harvey Keitel) gets shot and loses his left lung, he is forced to face the future without his saxophone, without the music that was his life. When he stumbles over a dead man in an alley and brings home a briefcase, the small rock he finds inside it changes everything. The glowing, floating stone has a power that overwhelms Izzy and Celia (Mira Sorvino), leading them through a series of events over which they seemingly have no control. Novelist Paul Auster's first solo directing effort (he previously codirected BLUE IN THE FACE with Wayne Wang) is a moving character study of a group of fascinating individuals trying to survive life in New York City. The fine cast features stellar performances by the boldly understated Keitel as well as Sorvino, Gina Gershon, Mandy Patinkin, Willem Dafoe, and Vanessa Redgrave, as a former star actress turned director. [More]
Starring: Harvey Keitel, Mira Sorvino, Willem Dafoe, Gina Gershon
Starring: Harvey Keitel, Mira Sorvino, Willem Dafoe, Gina Gershon, Mandy Patinkin, Richard Edson, Vanessa Redgrave
Director: Paul Auster
Director: Paul Auster
Screenwriter: Paul Auster
Producer: Peter Newman, Greg Johnson
Composer: Graeme Revell
Producer: Amy J. Kaufman
Reviews for Lulu on the Bridge
This wanbabe noir is frustrating due to the meandering nature of the pretentious, riddle-like script and lethargic, incompetent direction of Paul Auster in his solo directorial debut
Less spellbinding than it wants to be, losing its energy and occasionally its brains in long passages of surprisingly sentimental schmaltz.
Right up to the end, which was a lousy cheat ending, I was entranced by the story and the characters.
I just got the feeling Auster didn't know too much more about this mystery than the viewer did.
Auster’s script asks us to suspend our disbelief far more than is reasonable.
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