Description: New York's opulent art and financial worlds collide when a stressed-out stockbroker meets a beautiful and cagey French actress... DVD SPECIAL FEATURES: a souvenir booklet; scene access; the original theatrical trailer; an isolated music track with concert version of late composer Jon A. English's film score; filmographies; and production notes. Widescreen anamorphic format, 16:9 enhanced; Region 0.
Amazon.com: Probably the most maligned American Playhouse production ever aired, All the Vermeers in New York inspired unanimous contempt from TV reviewers. This 1990 anti-rhapsody in Manhattan landscapes forewarned its viewers of a tedious experience, and People magazine said it was "as exciting as watching a painting dry." What they objected to as "arty" may have had something to do with Jost's static photography or minutes-long lyrical interludes. Composed in, on top of, and around steel and stone urban monuments--as opposed to the warm and unabashed human subjects of Vermeer--Jost's brash depiction of a post-Reagan-era Manhattan and its inhabitants (at various turns a usurious art dealership, a cutthroat Wall Street brokerage, and the superficialities of the New York dating scene) may make Woody Allen's Manhattan seem like a scenic flight in positive-thinking guru Tony Robbins's helicopter, but Jost's dramatic interest isn't in mere exposé. A stock trader's lust for the killer deal is juxtaposed with his obsessions for a rare painting and later for a homesick, unemployed French actress (Emannuelle Chaulet). He spies her in a room looking at the same painting--but what they are looking at becomes, in the psychological context of the film, as mysterious and elusive as what they are looking for. Jost's most expensive movie to date--a mere $250,000--turned out to be the most virulent of his unflinching critiques of the destructive powers of materialism in the American--or, by the romantic and historical associations he provides, European--psyche. --Christopher Chase
Not as bad as claimed This is not the disaster some of the other reviews suggest. It is slow, and it is quite pretentious, but if you get into the rhythm of it, it is a worthwhile movie. Jost is no Eric Rohmer (even if the actress here played the lead role in "Boyfriends and Girlfriends"), but this film, set in Manhattan amidst both the art and high finance world (and with a Vermeer painting appearing predominantly, for no apparent reason), ends up being a quietly beautiful effort.
Its The Frame This film appears ponderous, with its intermittent shots of marble floors & columns. The characters' references to art & literature seem forced. However these devices amount to the frame around their lives. Inside the frame they are very much alive-& trapped.The French girl,full of charm & intellect, is a self centered user of people - may she wander forever! Her girl buddy is relatively unsophisticated but actually a good person. And the lonely stockbroker so trapped by his life! Very real people that I liked - poignantly framed in a moment of time
A brave independent film The presence of Vermeer in the art has always been powerful and many times neglected. His works seem to have a weird enchantment in all the viewers inside and outside the painting craft. The delicate equilibrium in the form and the sumptuous employment of the light and shadow seduce inmediatly the soul, the eye and the spirit. Salvador Dali, for instance, stated in a conference that Vermeer was his favorite painter. And it's interesting to remark how film makers so distant in styles as Greenaway (A zed an two noughts) and Riddley Scott (Blade runner), have shown Vermeers's paintings as admirable narrative devices in their respective scripts, as clever clues. The premise made by this talented independent director -Jon Jost-is setting in New York (Metropolitan Musseum) a young artist Frenchwoman and a stockbroker who meet in front of a Vermeer painting as a smart raising relationship. The european style (Wenders, Altman, Losey, Antonioni and Rohmer among the closest authors)developed by Jost, allows explore several issues, such as the mercenary underworld in art dealing, the hipocrisy beneath the surface, and above all the perceptions contrasts about how the art is considered as just another more market object. Francis Coppola told in 1981 in an interview, this bitter thought: "Ïf anybody thought that the art was just a wrench of market, then you could buy a Picasso, to cut it in two parts and sell both parts as if those of them were two Picassos". This is a very unusual movie, carefully filmed and cleverly directed. If you are a Vermeer admirer (as I do) and even you don't , you should not miss this movie. I recommend to read a remarkable essay about Vermeer written by Marcel Brion.
Jon Jost's All the Vermeers in New York Jon Jost shoots a little New York film, and bores the heck out of America.
The central story centers around French actress Anna (Emmanuelle Chaulet) falling for Wall Street money man Mark (Stephen Lack). Their courtship begins in the Vermeer room at the Metropolitan Museum of Art, where Mark passes Anna a note. She meets him later with her roommate Felicity, who pretends to translate for Anna. Mark pursues her until she decides to go back to France, with Felicity, and Mark finally confesses his love in a tragic phone call.
Yawn.
This slow moving film is so boring I took three days to watch the eighty-seven minute thing. The central story takes forever. There are subplots that are brought up and dropped worse than any other film I have ever see. Gordon, the poor artist trying to borrow money from a gallery owner? Dropped. Felicity's dad using her name to make possibly illegal stock transactions? Dropped. Felicity and Anna's constantly rehearsing roommate? Dropped.
The best scenes in the film involve Stephen Lack as Mark. All of his scenes just crackle, and he does some excellent ad-libs. His scene on one of the World Trade Center towers, as he talks about death while a jet plane can be heard over head (this was shot in the early 1990's) is creepy and fascinating. He held back too much in "Scanners," but here he is the only reason to sit through this muck.
"All the Vermeers in New York" is like Woody Allen on his worst day. I wish Jost could have given us more, not bore.
All style. No substance. I was extremely disappointed with "All the Vermeers in New York", a mid-80's film from French director/writer Jon Jost which was produced by American Playhouse (in case anyone was wondering, the film IS in English). First of, let me say that I am a big fan of movies dealing with the world of art, and there have been some great ones in recent years; "Pollock", "Maze", "I Shot Andy Warhol", "Sweet Thing", "Vincent & Theo", etc. I am also a big fan of arthouse/independent cinema, and even of films that most viewers would consider to be "slow moving". All that said, I STILL cannot find much to recommend in regards to "Vermeers"! Filmmaker Jon Jost has a photogpaher's eye for visuals and details, and there are plenty of lengthy static shots in this film that indeed look very artistic and "pretty",...but that is part of the problem. The film often seems more like a still-life slide show than a "motion picture", and Jost misses many opportunities to add some needed visual "life" to the film. As a writer and storyteller, I'm afraid Jost leaves a LOT to be desired! While there are three or four central characters, none of them are really devoloped or fleshed-out into people that we care about,...or even understand! Who are these people? What are their motive's? What drives their lives? Why should we spend 90 minutes of OUR lives watching them??? Unfortunately for his viewers, Jost's idea of "character devolopment" seems to be lengthy close-ups of the actor's expressionless faces not saying a word - and as a viewer, I desire a LOT more from a story than this! There is, I believe, a RIGHT way to make a slow-moving film. Take for instance Atom Egoyan's "Exotica"; a film where the story and characters slowly-unravel before your eyes as the writer/director peels back layers of information, and in the end, leaves the audience with a complete picture. The problem with "Vermeers" is that, unlike Egoyan's film, there is no "unvieling" of the story, no suspence, no building up of the characters, and nothing-in-particular driving the plot to an intesting conclusion. I have given the film 2 stars for Jost's considerable visual talents, but it dosen't even get a blip on the screen for it's shoddy storytelling!
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