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Welcome to New York (2014) HD online

Welcome to New York (2014) HD online
Language: English
Category: Movie / Drama
Original Title: Welcome to New York
Director: Abel Ferrara
Writers: Abel Ferrara,Christ Zois
Released: 2014
Duration: 2h 5min
Video type: Movie
Mr. Devereaux is a powerful man. A man who handles billions of dollars every day. A man who controls the economic fate of nations. A man driven by a frenzied and unbridled sexual hunger. A man who dreamed of saving the world and who cannot save himself. A terrified man. A lost man.


Cast overview, first billed only:
Gérard Depardieu Gérard Depardieu - Devereaux
Jacqueline Bisset Jacqueline Bisset - Simone
Marie Mouté Marie Mouté - Sophie Devereaux
Paul Calderon Paul Calderon - Pierre
Paul Hipp Paul Hipp - Guy
Pamela Afesi Pamela Afesi - Maid
Chris Zois Chris Zois - Chris
Shanyn Leigh Shanyn Leigh - Female Journalist
Amy Ferguson Amy Ferguson - Renee
Ronald Guttman Ronald Guttman - Roullot
Emmanuelle Vill Emmanuelle Vill - Emmanuelle
JD Taylor JD Taylor - Josh
José Ramón Rosario José Ramón Rosario - Detective Rosario
Louis Zaneri Louis Zaneri - Sergeant Landano
Pascal Yen-Pfister Pascal Yen-Pfister - Hotel Security Chief

When director Abel Ferrara received a letter from IFC Films, the US distributor, telling the filmmaker to deliver an R-rated version so that it could match the version to be released on Showtime during its pay TV window, the director was disgusted and refused to back down telling THR "Welcome to New York is not being distributed in the U.S. because of this company, IFC, which I'm totally disgusted with." He stated "They knew from day one when they bought this film that they had the final version and that it wasn't going to be changed."

The $60.000-a-month three-story house Simone (Jacqueline Bisset) rented for Mr. Devereaux's (Gérard Depardieu) stay while under house arrest, was the actual house Dominique Strauss-Kahn's wife, Anne Sinclair, rented in 2011. It is located in Tribeca, New York.

Reviews: [24]

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    "The economic anarchy of capitalist society is the real source of the evil.‎ The result of these developments is an oligarchy of private capital, the enormous power of which cannot be effectively checked even by a democratically organised political society." - Albert Einstein

    In May of 2011, Dominique Strauss-Kahn, presumptive French presidential candidate and head of the IMF (International Monetary Fund), was arrested at JFK airport following an alleged assault on a hotel housemaid. Strauss-Kahn denied violence but admitted "inappropriate" behaviour. The civil suit was later settled out of court.

    Directed by Abel Ferrara, "Welcome to New York" retells this scandal. It stars Gerard Depardieu as Devereaux (a stand in for Strauss-Kahn), a corpulent corporate-type who spends his days pommelling prostitutes, engaging in casual sexism and gorging on mountains of food. Devereaux, in short, is addicted to pleasure, power and excess. Emblematic of a ruling class which abuses its privileges, exhibits insensitivity toward others and remains protectively cocooned in its ivory towers, Devereaux is shocked when his attack on a lower class black woman gets him arrested. "I have diplomatic immunity!" Devereaux cries.

    Ferrara's recent films have all been about capitalism, addiction and their overlapping ills. In "Last Day on Earth" this results in ecocide, in "Go Go Tales" this results in a club owner developing gambling addictions in an attempt to "diversify" and "compete" on the market place, and in "R Xmas" a couple of upstart businessmen find their dreams of upward mobility shattered. In "Welcome to New York", we see the "cause" of such collapses and calamities. Entirely without empathy, self-knowledge, forever unable to distinguish between consecration and rape, and viewing everyone and everything as a possession or commodity, Devereaux is the product of a culture which glorifies and normalises sociopathic behaviour. "I don't have feelings," Devereaux tells a psychologist, "I don't give a s**t about the people!"

    "Welcome" is divided into three clear sections. In the first, we nosedive into Devereaux life of debauchery. Here, sex and nudity are presented without a hint of titillation, and all of Devereaux's sexual rendezvous are sketched as something pathetic and hollow. The film's second section then bluntly contrasts a dehumanising prison system with Devereaux's life of privilege, whilst its third and best segment finds Devereaux consigned to house arrest. During this segment, Jacqueline Bisset steals the show as Devereaux's ex-lover.

    Though well intentioned, "Welcome to New York" is mostly bad art. The film is packed with clichés, its dialogue is obvious and cringe-worthy, Ferrara's aesthetic is far too literal and the film climaxes with a hokey shot in which Devereaux looks at the camera in a moment of forced and failed profundity. Worse still is Ferrara's disinterest in embedding Devereaux's debauchery within a socio-political context. Ferrara, whose filmography is filled with films about addictions, seems interested in Devereaux only in-so-far as the man is held prisoner by his own body; consumed by consumption. The larger workings of the IMF – responsible for tens of millions of deaths, wars, coups (one currently going on in the Ukraine), the arming of terrorist and far-right groups, indebting countless countries etc – goes ignored. The dubious implication, as with most art which attempts some kind of economic critique, is that our system "works" if only people were a little more compassionate and a lot less greedy.

    Incidentally, the IMF's "Independent Evaluation Office" has recently admitted that, quote, "the IMF's advocacy of fiscal consolidation proved to be premature for major advanced economies". In short, the IMF is attempting to portray its recent disastrous policies, which saw austerity measures and bank bailouts occurring in most First World nations, as "blunders", rather than entirely deliberate. Many of these Strutural Adjustment Programs, imposed on countries to serve the interests of creditor banks and mega-corporations, were at the time being opposed by Strauss-Kahn, then the IMF's managing director. Judging by history, in which non-compliant types (Scott Ritter, David Kelly, William Colby, Michael Connell etc) are routinely suicided, assassinated, discredited or slandered, it's possible that Strauss-Kahn was framed so as to install a more malleable director. Time will tell. Which is not to say that Strauss-Kahn isn't a giant sleaze-bag, just that he's small fry. The monster runs deep, and its always sacrificing its own priests to keep the game alive.

    5/10 – See Passolini's "Salo", "Eyes Wide Shut" and Ivory's "The Remains of the Day".
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    "Welcome to New York" is based on a real-life "scandal" that involved the french diplomat Dominique Strauss-Kahn who was a member of french Socialist Party and also the Managing Director of IMF (Int. Monetary Fund) from 2007-2011 until he resigned due to allegation that he had sexually abused a hotel maid.

    • Ferrara's "Welcome to N.Y." hands this affair in a masterful way, that you would find it hard to remove your eyes from the screen even for a second. This is not something Ferrara has done in the past - elaborate a certain real life event to the last detail. And for Ferrara this is just the right kind of stuff, cause he has been provocative for all of his carrier and he knows how to handle this kind of material.

    On the other hand, Dapardieu gives one of the best performances of his carrier. He's so convincing as Deveraux that one can say he's the real man (DSK). The script doesn't exaggerate, - written by Ferrara and Zois (who worked previously with Ferrara in "New Rose Hotel"),- it handles the story plain and proper for Ferrara to do his thing behind the camera.

    • The best part of the movie is when he (Devereaux) boards the plane and then is asked to step out and the whole police procedure begins. Depardieu feels very comfortable during this complex scenes as does Ferrara, who doesn't hesitate even for a second to show us what the real man experienced.

    Ferrara goes as far as to treat yet another situation that Strauss Kahn found him self in. Ferrara's Devereaux after the N.Y. arrest tries to rape a journalist, in real life this allegation happened to Strauss-Kahn who was accused for such an act and is scheduled to appear in court for trial in 2015. Bisset plays Devereaux's wife and fulfills the other part of the story...

    • Now i'll try and give you some reason why you should watch it or stay away from it: If you are familiar with the real life story of DSK then give it a shot, you wont be disappointed... If you are not an Abel Ferrara fan then skip it (it will be your loss)... If you want to see Depardieu on one of his best roles he has ever done then watch it, the man was the perfect choice for this role.

    Hope this helped.
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    This film has many different rhythms and paces. At first the prolonged sex scenes last so long that they became uncomfortable and disturbing.Although the sex with the prostitutes was consensual Depardieux grunted in almost pig like fashion as he lost himself in debauchery and lust. It had the feel of a porn film but with believable characters. The scenes with Depardieux and Bissett often have the feel of improvisation particularly at the beginning. It would have been nice to have seen more of the victims reactions to the abuse that they were subjected too. The unrepentant nature of the lead character is alarming and brutally honest.He does not seek to be cured even after his arrest makes his life fall apart. He shows no feeling for his victims and just is a serial abuser. His blunt attempts at seduction is seen to be successful in one instance due to his wealth and status and overt womanising. Like Bad Lieutenant this film delivers moments of brutality and spiritual abandon. In both films the central characters are spiralling out of control. The Gauguin nudes on the walls of the apartment are well placed. In all despite the lengthy sex scenes and drawn out almost real time arrest the film is well constructed and well acted. The surreal almost "bad actor" dialogues between Bissett and Depardieux as they confront the aftermath of his arrest fluctuates between the inane and the poetic. I really liked the line that,"The reverse of Love is not hate but indifference" delivered by Bissett. The fact that this film is based on true events adds weight to the subject matter. A difficult film to watch and an adult film on more than one level.
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    Anyone acquainted with the Dominique Strauss-Kahn scandal that rocked international media would find Welcome to New York interesting. The movie gave us some time in private with the main protagonist, although it's clearly been a work of fiction, as the introductory notes underlined.

    In this movie the aesthetics of Abel Ferrara were put to gut use. As it usually has been the case with his movies, it was difficult to say whether the look and feel of a TV docudrama was intentional or the budget didn't allow a better postproduction. Either way, it sat well with Welcome to New York. It was a gritty insight into the daily routine of an important man who, after a hard day's work, relaxed in some debauchery.

    From there we go to a cordial welcome at NYPD until the big international capital intervened and charges were dropped. The last section of the movie, although the least exciting, gave the main protagonist the opportunity to spend some time under house arrest and open his heart. And it wasn't the possibility that both himself and Dominique Strauss-Kahn could have become "the future president of France" that made my stomach turn. It was rather his/theirs inability to perceive any wrongdoing and the unwillingness to repent.
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    I have never been disappointed with an Abel Ferrara film yet never seem in a rush to see a new one. I guess the ferocity of emotions he tends to whip up are both exciting and disturbing. This particular film, depicting the events surrounding Dominique Strauss- Kahn's attack upon a maid in his New York hotel was so dismissed by the critics at the time of its release, I delayed my viewing. No need to have had any doubts though, this is a sensationally good film. Gerard Depardieu was a fantastic choice to play the lead for despite all the horrors and abuse of power, there is something about the actor and his reputation that presumably, like DSK in real life, prevents the viewer from totally dismissing the guy as an animal. A couple of devastating, direct to camera stares underline this, 'Who are you to judge me?' attitude. Jacqueline Bisset is also very effective as his then wife and there is a very powerful scene when she is showing him round the flat she has found for him and tries to resist his clumsy advances. The dialogue is brilliant throughout and totally believable and it seemed to me that i may never have heard such convincing lines from non white actors, particularly in the courtroom, police and prison scenes. The whole sequence following the removal from the plane and his incarceration and strip search are spine tinglingly believable. I must also mention that before we launch into the main story Ferrara presents us with the DSK view of the world with 'ladies' sweeping into a briefing session to fold themselves over his lap and offer a blow job. And then an orgy scene in New York shot really tight with just parts of bodies visible and cocaine laced whipped cream much to the fore. A highly erotic scene to set us up for the main body of the film leaving us in no doubt all the while that a certain part of the man's (any man's?) anatomy is directing his actions.
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    In New York, the French director of the World Bank Mr. Devereaux (Gérard Depardieu) is a pervert and womanizer, partying and participating in gang bangs with women. When he tries to rape the hotel housekeeper in his room, the woman reports to the police. Devereaux is arrested, affecting also the life of his wife Simone (Jacqueline Bisset).

    "Welcome to New York", by Abel Ferrara, is a long, uneven and inconclusive film based on the New York v. Strauss-Kahn case. The story shows the lead character Devereaux as an egocentric, pervert and sick womanizer through excessive sex scenes and his relationship with his daughter and wife. When he is released in house arrest, the screenplay is developed at a very slow pace and is boring. However the lack of conclusion is terrible. My vote is seven.

    Title (Brazil): "Bem-Vindo a Nova York" ("Welcome to New York")
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    What is this piece of work? An auteur film? A low-budged shock movie like "La Grande Bouffe" or "Baise-moi"? A porno? Whatever the case, this catastrophic film makes you wonder whether Abel Ferrara has really been directing movies for 40 years. Inconsistent characters, uneven editing and dialogue lines that are laughable at best and disturbingly weak at worst make this this movie a really painful experience, like a great romantic Austrian orchestral piece performed out of tune all the way through. The exhaustingly long and slow vampire of a film that is Welcome to New York begs the questions: has the production been rushed for some troubled reason(s)? is that why it backfires on all technical levels? did they use rehearsal footage? is that why the acting is so all over the place? There are, however, a few interesting moments here and there in the film: Depardieu's monologue towards the end of the film, the lighting reflected on Jacqueline Bisset during a quarrel in the couple's home cinema. They're only details, unfortunately, and they're not powerful enough to save the film from drowning. Abel Ferrara proves that being a "unique" artist doesn't make you a "competent" one and, most of all, that you can't always blame gaucherie on art.
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    This film tells a great tale about a man who has an insatiable sexual appetite that can never be quenched, even in the throes of big trouble with the law. Ultimately, power, money and standing all go a long ways into how people are handled within our court system.

    If you have riches, you can escape the most inescapable criminal acts. If you're poor, forget it. Our system is badly broken and filled with corruption.

    Lady Justice is blind on both sides...innocent and guilty alike. The courts have a hard time getting it just adds to the problem.

    Gerard Depardieu had a lot of guts taking on this roll and did a fantastic job of expressing his emotion through his eyes. He occasionally stares into the camera, giving the viewer a deeper view into his manic behavior.

    A special nod to Jacqueline Bisset for her terrific role as the enabling wife. She seemed more like a mother than a wife to Depardieu, protecting him to protect herself.

    A very highly recommended film.

    Oh, by the way....the most telling of the "Guilty before innocent" sentiment in the USA was the treatment of the perp based alone on an accusation. "You don't like the cuffs? Too bad asshole." Is a sad commentary on the attitudes of our law enforcement officials.
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    Painting used to be a major form of art, as it represented reality through the eyes-and the mind-of the painter, and this act wasn't waiting for the surrealists to invent it as it was inherent in every attempt to represent reality(always an act meaning to link the outside with the inside-reality with perception).Photography and then cinema took over the responsibility of this act, as they both appeared more capable of aiming at the real;meanwhile, a demand for more reality lead to aesthetics(growing in the cinema world like cancer) supposed to emphasize the impression of the real-the worst example of this tendency being perhaps the decay of horror film through the limitless repetitions of camera shaken films that followed the example of Blair witch project- and that impression of the real(always created by manipulating means) became the god of a new world where the demand for truth was believed to be satisfied through the revelation of this reality;that alone was taken as enough to guarantee justice, a remedy to fight all illnesses, racism first of all(which became the top topic of every thinking man), and disillusion as well(the spectators of the contemporary fantasy films laugh at the usually more imaginative means cinema used to use to create its monsters when digital was an unknown word). And then comes Ferrara with his movie, one I wasn't sure I was interested in watching, to remind us of that old painters ethos that used to be trade mark of all great cinema-and still is, in rare cases- painting a real story(more real it couldn't be, and watch here Ferrara is not interested in the subjective element of reality of a Rasomon type)with his palette of pictures,shadows, sounds and edits that refuse to give a dramatic and manipulative tone(compare this with the terrible Gone girl) to the film and create a true work of art that,as all modern art does , is not devoid of meaning, but incorporates the meaning in its form and the austerity with which it gets close to-or keeps a distance from-the characters of the story.So Ferrara, bringing in an aesthetic that reminded me of Robert Bresson, succeeds where Scorsese with his Wolf of Wall Street failed, succeeds even more in giving a cinematic portrait of New York unlike any other, lighting the places in subtle ways and creating poetry out of the ordinary.Furthermore, Welcome to New York is one of the most anticomformist movies ever made attacking political correctness with its power of lack of judgment(although the civilization of moneyworld is surely judged and condemned right from the start)and the thoughts it aims to provoke in all of us regarding the inner truth and the world we are living in.A master film by a director I hadn't appreciated enough in the past.
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    Is that the best actor in France? Really? Can some surgeon put him out of his misery? This was awful. Ferrara forgot to hire writers. The acting is pathetic. Dialogues wouldn't even make an episode of a 1980's cop show. I feel sorry for French people that this was presented to the world at the Cannes Festival.

    Depardieu is a sick man, it's become obvious he needs help. Besides his physical appearance, for a man who was beautiful 20 years ago, there is the problem of his acting, and what emotions he conveys. There is none. He has zero charisma left. He's lost his mojo somewhere in the 1990s. I think Louis CK would have done a better job. Heck, I think Schwarzenegger would have done a better job.
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    A fascinating and uncompromising insight into the life of a man. Ferrara signs here one of its best ever movie and Depardieu reveals once again the full extent of his talent.

    The fall of the mighty sick of his sexual impulses (the film spares neither sex scenes priced nor the brutal attempts to put a woman in bed). The case itself and its judicial suites are underdeveloped. Abel Ferrara is particularly interested in conversations between the Devereaux couple (Depardieu and Jacqueline Bisset) in the famous New York apartment where he was under house arrest, the ones everyone has imagined but never heard.

    A great movie.
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    I was pleased when this film became available on Netflix and then on DVD, because I am an unconditional fan of Gérard Depardieu even though he is no longer the healthy-looking star he used to be, and also because I was convinced from day one that DSK had fallen into a trap set by his political enemies. Only two people know exactly what happened that day in his hotel room, so this is indeed a fictional version, but when Depardieu's character tells his wife that he is not guilty as accused, I for one believe him. It's watchable, and almost philosophical when he talks to his very rich wife about the sharing of wealth. And if anyone is disappointed by Depardieu's performance in this movie, I recommend director Jean Becker's delightful film "La Tête en friche" (My Afternoons with Margueritte) in which Depardieu is brilliant. Jacqueline Bisset's performance here is remarkable too.
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    The movie is a unique affair with one of the strongest main characters I've seen in years. The real story almost disappears and then reenters to keep us grounded but the narration is very human and real and therefore very terrifying. I like how long Ferrara leaves his actors be in the moment and how he always reaches with that length the next layer of a fictional scene. The dark unlit places look great The driving from the airport sounds like New York but in the edit it also sounds like a hellish tunnel Just a great film from a great director. I can't wait for the film to hit New York and be premiered in the city it was shot in. I'm sure the response will be great
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    Even a good cast can not save Welcome to New York from the label of mediocre.

    The film tells the tale of a lecherous, moneyed Frenchman who is accused of raping a housemaid whilst staying in a ritzy New York Hotel.

    Gerard Depardieu offers up a reasonable if not exceptional performance as the male lead. His character is a rather revolting, dissipated type who is driven primarily by sex, which he equates with a disease.His character is not that complex and as such, not terribly interesting.

    By contrast, his long suffering wife, played by Jacqueline Bisset, offers up a passionate performance as a woman driven to pure exasperation and despair by a man she still loves in spite of his conspicuous faults.

    Its a very personal drama let down by limited character development and the rather stunted story line which leaves the viewer asking what it is they have just witnessed. Indeed, Welcome to New York really amounts to little more than a reiteration of life's realities, that the world is an unfair, unjust place where money makes a huge difference and the dysfunctional go on being dysfunctional.

    Five out to ten from me.
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    could this be that this film was made out of spite or jealousy? besides a few naked bad looking women, this film tried to portrait Dominic Khan as a woman eater - puffing and punting like a dog - i think its peculiar and stupid.

    no element of the intriguing follow up of the juridical case, no insight as why Mr khan needs to poof like a dog when he clumsily touches a woman, like a wild fifteen year old kid.

    i cannot see anything that could possibly come close to portray the man called "the seducer" - a man who allegedly had the worlds prettiest at his feet.

    I've never rated a film so badly, nut this is totally petty.
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    okay, this movie is not very "deep", its more like a real-time documentation of some real life facts/conditions.. so, for about 20-30min its really a "Welcome to New York" with all its special realities.. i was constantly wondering during the movie, what the deeper thoughts of Abel Ferrara and Depardieu & Bisset were to make this half-documentary.. Abel Ferrara made such great films like "Bad Lieutenant" (as you surely know)->what does he (and Depardieu & Bisset) wants to tell us with that ? i guess almost nothing->for me it culminates in a superb acting scene with Bisset and Depardieu at the end.. its a "homage" to two great actors: Bisset & Depardieu.. thats all,thats it..if you are a great Bisset&Depardieu+Movie-Fan, you will like it->great acting !! (PS.appendix: after watching it by chance for a second time in an "Uncut"- Version, its also mainly a "blaming the capitalism", was ,but not so, clear before in the "cutted"-version..)
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    IMF exists in order to not to change the colonial system of the West.To protect the colonial system, continue stealing in every way. Proof of this is that rapid destruction of countries where IMF gives credit. If countries somehow paid their depts and as soon as they get rid of IMF,we all get used to watch their rapid growth. Then West's legal burglars use their power continue to pull down their economies with international credit rating agencies like Standard & Poor's, Moody's,Fitch. And surely they do not allow other countries to establish similar institutions in spite of their wellknown proved mistakes. This film focused only on a thing above the iceberg. They should also ask correct questions like, Why now? After being nominated to the presidency, the chief of IMF allowed to be on trial in this way. It would be more realistic to investigate who did this and why. Since Devereaux wellknown by his similar acts and he is sure he can get away with it as used to be. Suddenly NYC started to do something about it as someone let them. And of course Who let them we don't know as much as we don't know why he get away with previous similar cases. Someone wonders why Gérard Depardieu except to play in such a movie after all. Depardieu should not be help them to get away with all of it.
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    deadly claw

    This movie is really a terrible portrayal of the events that really occurred. Guilty until proved innocent more like it. The acting was quite cold and lifeless and yet should the directors have taken their time with this storyline it could of had real potential. Such a shame to butcher a possible great. The main reason that such a film would be made is to shed some light on the events that occurred in real life or at least a resemblance. I do not believe that this was the case here.

    Throughout the film we see a great disparity between the actors and what one would expect from a man of such influence. How can anyone give this film a high rating after having to struggle to get to the finally.
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    Totally non-believable boring and basically unwatchable. I'm not an apologist for DSK, NYPD, IMF, or the PS but this movie is so far away from reality that its pathetic. Who funds garbage like this? I don't know DSK but I do know he was managing director of the IMF for 4 years as well as holding MANY prestigious posts within the French political system. I find it hard to believe that he travels alone taking yellow cabs to the Airport and is then left in the New York Prison/Court System without getting access to a lawyer and then strip searched? LOL ... Come on now! The scenes are dull lifeless and bland. I know more about DSK from watching a few stupid news clips than I learned from this entire movie. There was NO attempt to develop his character or anyone else's. It seems as though the script writers knew NOTHING about DSK or ANY of the characters in the film. His wife is portrayed as some sort of "backbone" who ran his career? The scene with Bisset and Depardieu was scripted poorly and acted even more poorly if that can even be possible. I'm not the biggest fan of the NYPD either but their depiction in the film was very insulting to them and ME! The guy supposedly rents an apartment for $65k a month but can't get a private car to pick him up at the airport?? I still don't know the real story of what happened with DSK. Its obvious that people in very high places want to destroy the careers of DSK, Depardieu, Bisset, and Ferrara because it certainly shines a pitiful light on all of them.
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    This film tells the story of a powerful French man in the field of economics, who is addicted to sex. He runs into trouble when he is accused of raping a hotel maid in New York.

    I think the problem about "Welcome to New York" is that everyone knows the whole plot already before watching the film, so it is a challenge to keep viewers interested and surprised. Having extended sex scenes one after another may superficially do the trick, but ultimately I find "Welcome to New York" lacking in real substance. The wife, Simone, is likable and gives convincing displays of emotions. I am sympathetic towards her character. The main character, Devereaux, on the other hand, lacks that certain spark. I guess it is because his character is so egocentric and pathological that he does not show much emotions. He only sweet talk to ladies, yet he is not shown to be able to do much else. The filmmakers could have made it interesting by throwing in more courtroom drama, or more public outcry. There are loads of missed opportunities with the film to deliver a gripping and sensational story.
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    Parturient montes, nascetur ridiculous mus (The mountain gave birth to a small mouse).

    S-K. incident could have indeed given many hints to be pursued in making a decent movie: the interests of the rich and the influent colliding with justice, the sexual dependence of a mature man vs his family, or again loneliness and decadence in modern days. However, the director chose to follow them all at the same time, resulting in nothing more of a collection of sketches, causing the audience some annoyance, not to mention some impatience for the plot to recollect the various topics. Sadly, such hope is to remain unattained, and the movie remains an exhausting prologue of a story we will never see. The lack of pathos or sympathy for any of the characters or stories don't help. One may advocate Brecht's disenchantment of the epic theater, but one would seriously doubt that this was the case.
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    They can deny it all they want, but the blueprint of the story is too close to a real person to not be immediately linked with it. Maybe they fear lawsuits by Sarkozy, though I doubt he still has the power to do anything like that, but that would be the only reason I can imagine. Obviously the portraying of a french man is not the best. Maybe some would feel that it does put all male from France into a doubtful light, but that would not be a fair assumption. We're talking about a spoiled guy, the nationality does not matter.

    There's also a lot of nudity in this (also from Gerard Depardieu, in case you were wondering). The subject matter is also very harsh, but shows what addiction and loss of sense (or senses?) can do to a person. Maybe therapy can help, maybe not. Bottom line is, there is bad things happening. All shown in a very slow pace (like a "body search", which has some fun dialog as well) ... can you bare it? (sorry for the pun)
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    In some ways Gerard Depardieu is the Gallic Helen Mirren, i.e a more than accomplished actor, admired by his peers, adored by fans, an Award winner yet with a compulsion to take off his/her clothes. He did it first - to my knowledge - back in the 70s in The Last Woman where, not content to spend half the film in the buff, he cut off his penis for an encore. He stops short of self-mutilation here and the one full-frontal scene - it occurs when, following his arrest, he is strip-searched = last no more than a couple of minutes. Depardieu, like most of the cast, phones it in and I suppose one has to give him credit for appearing in something that is both cheesy and sleazy, the sort of role a young actor will take on to get noticed. In fact the only reason I can think of for the appearance of Jacqeline Besset as Depardieu's wife is the fact that she has more or less dropped off the radar and the ego needed a little massaging. There's absolutely nothing to recommend in this movie - perhaps 20 years ago the sex would have sold it, a la Last Tango In Paris, but not in an age where you can access the same thing at the click of a mouse.
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    Ferrara is an interesting author who has always cared more for editorial freedom than to commercial success, the Hollywood fame and popularity. Formed as an independent author in the twilight of the New Hollywood, Ferrara has made a number of films on different issues, from twisted comedy, through the mob, Catholic mysticism and vampirism, to obscure the horror and science fiction films. Art tells its own story. The artist has an obligation to be fair, or even decent. Ferrara is wiser than that to go on a cheap provocation and risks a lawsuit for damage to reputation, and in his case Strauss- Khan became Devereaux (Depardieu), and his wife Anne Sinclair became Simone (Bisset). The film, the most accurate way, deals with the distortion of reality in the world of the rich and powerful.