#Liza minelli in halston mac
He’d read in the Hollywood Reporter that producers Robert Chartoff and Irwin Winkler had bought a screenplay to a “revisionist” musical by Earl Mac Rauch and Mardik Martin.
#Liza minelli in halston driver
Scorsese had taken on New York, New York in part because he was eager to distance himself from the subway-level grit with which he became synonymous with Taxi Driver and Mean Streets. If it has a legacy it is thanks to its blustering theme song – belted out by Minnelli originally but more famously rerecorded by Sinatra in 1979. By the time Scorsese had trimmed it to its theatrical release length of 163 minutes, he had lost sight of why he had wanted to make it in the first place. The director would also be first to admit New York, New York was not a success. “Twenty years later during the planning of a tribute to his directorial achievement, Scorsese asked that Liza Minnelli not be invited, cringing at the thought.” “The Minnelli affair of adultery and drug debauchery is one that Scorsese would like to forget,” wrote Vincent LoBrutto in Martin Scorsese: A Biography. Bigger, arguably, given the drug addiction into which Scorsese plunged during the shoot. Even box-office whisperer Spielberg came unstuck with limp Russians Are Coming “comedy” 1941. New York, New York was as big a disaster as any. Coppola went to the Philippines and had a breakdown filming Apocalypse Now. “I guess from coke.”Įvery great Seventies director suffered their moment of self-destruction. “Marty was shaking like crazy,” he wrote in his diary. The following May, Andy Warhol would take lunch with the director and leave shocked at his condition. Scorsese was in no condition to work that morning, so it went for him throughout the late Seventies. He instead furnished the couple with valium, four joints and Quaaludes, the downer of choice in the decrepit New York Scorsese had so compellingly brought to life the previous year with Taxi Driver. But that morning he didn’t happen to have any cocaine to hand. Halston was himself no stranger to Seventies debauchery. So he let his girlfriend do the pleading. Despite the early hour, Scorsese was in such a state he couldn’t even speak. But there was little Old Hollywood glamour about the filmmaker and his leading lady as they stood huddled outside Halston’s Upper East Side glass and steel townhouse. Scorsese envisaged it as his valentine to Silver Screen Hollywood and to the swinging Manhattan of his youth. New York, New York was an unlikely period musical from the bad boy of new wave American cinema. Minnelli had been cast as small time post-war singer with big dreams opposite Robert De Niro’s smooth – if in hindsight slightly mendacious and predatory – sax player.
They had embarked on a tempestuous affair on the set of Scorsese’s latest movie, New York, New York (which has just opened on Broadway to luke-warm reviews).
Hunched beside Scorsese was Liza Minnelli, the darling of Hollywood song and dance and the married Scorsese’s mistress. It was late 1977 and the 34 year-old director was in the advancing stages of the cocaine addiction that would ultimately put him in hospital with a suspected brain haemorrhage. Martin Scorsese was dressed all in white and shaking like the devil himself the morning he showed up on the doorstep of New York fashion designer Roy Halston.
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