The Gritty Films of 60s and 70s New York

Summary

All Of It: The Gritty Films of 60s and 70s New York – A Deep Dive into Cinematic History

Hosted by Alison Stewart, WNYC’s "All Of It" examines the vibrant and challenging cultural landscape of New York City during the transformative decades of the 1960s and 1970s. In this episode, released on March 31, 2025, Alison engages with film critic Jay Hoberman to explore how New York's unique environment shaped its cinematic output and left an indelible mark on the film industry.

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Introduction and Episode Overview

Alison Stewart opens the episode with enthusiasm, highlighting the focus on New York City's cinematic portrayal in the late 60s and 70s. She sets the stage by mentioning the establishment of a new Criterion Channel series, Fun City: New York City Woos Hollywood, Flirts with Disaster, curated by Jay Hoberman. The episode promises insights into iconic films, influential filmmakers, and the socio-cultural backdrop that defined this era of filmmaking.

Guest Introduction: Jay Hoberman

Jay Hoberman, a renowned film critic known for his long tenure at the Village Voice and his upcoming book Everything is Now: The 1960s New York Avant-Garde, Primal Happenings, Underground Movies, Radicals, Pop, joins Alison to provide expert analysis. His deep connection to New York's film scene and his academic background make him an ideal guest to unpack the complexities of the period's cinema.

The Office of Film, Theater and Broadcasting

At [00:37], Alison introduces the topic by mentioning Mayor John Lindsay’s pivotal move in 1966 to establish the Office of Film, Theater and Broadcasting. Jay Hoberman elaborates on Lindsay’s role, emphasizing how the mayor "cut through a lot of red tape" to make New York more accessible for filmmakers ([03:26]). This initiative was crucial in fostering artistic and economic growth, allowing filmmakers to capture the authentic grit and vibrancy of the city.

The Criterion Channel Series: Fun City

Alison highlights the new Fun City series ([02:53]), curated by Jay Hoberman, which features a selection of New York-made films from the 60s and 70s. These include crime classics like "Dog Day Afternoon" and "The Taking of Pelham 123", blaxploitation gems such as "Cotton Comes to Harlem", and even unconventional entries like an unlikely Clint Eastwood western set in the city. The series aims to celebrate and preserve the cinematic heritage of New York during a tumultuous yet creatively fertile period.

The Allure of New York City for Filmmakers

When Alison asks why filmmakers were drawn to New York after Lindsay’s reforms ([04:12]), Hoberman responds that the location authenticity of NYC was irreplaceable. He notes, "You can't build this on a movie set," underscoring the city's unique atmosphere that filmmakers sought to capture. This genuine backdrop allowed for more realistic and impactful storytelling, setting New York apart as a natural character in its own right.

Impact on Hollywood and Filmmaking Trends

Hoberman discusses how New York's embrace by filmmakers influenced broader trends in Hollywood ([04:28]). The move towards location shooting was inspired by the gritty realism of New York films, leading to movies like "Easy Rider" embracing cross-country shoots. Additionally, the toughness and brutality depicted in New York crime films provided a new narrative depth that Hollywood began to emulate.

Spotlight on Key Films from the 60s and 70s

Midnight Cowboy

A listener call from Jonathan ([06:35]) brings up "Midnight Cowboy", which Hoberman acknowledges as a seminal film despite not being part of the new Criterion series ([07:31]). He points out that films like this, often shot by foreign directors such as John Schlesinger, offer a unique outsider’s perspective on New York, enriching the city's cinematic portrayal.

Fatso

Chris from Brooklyn ([08:21]) shares his nostalgia for "Fatso", a comedy capturing the Italian American experience. Hoberman appreciates the film's authentic representation of family dynamics and cultural nuances, highlighting its enduring appeal through personal anecdotes shared by listeners.

The 7 Ups and Pelham One Two Three

Robert from the Bronx ([11:46]) praises "The 7 Ups", a police drama that vividly portrays Manhattan through chase scenes and authentic neighborhood settings. Hoberman compares it to "The Taking of Pelham 123", emphasizing the latter's authentic depiction of New York’s subway system and the complexities of managing a bustling metropolis ([27:01]).

Dog Day Afternoon

Al Pacino’s performance in "Dog Day Afternoon" is lauded by Alison ([10:46]), with Hoberman highlighting both Pacino’s embodiment of New York’s spirit and director Sidney Lumet’s mastery of the city’s urban landscape ([11:15]). This film exemplifies the raw and unapologetic portrayal of New York’s grit and resilience.

Panic in Needle Park

The discussion shifts to "Panic in Needle Park", which delves into the heroin addiction crisis on the Upper West Side. Hoberman describes the film as a stark portrayal of an open-air drug market, capturing the harsh realities and the pervasive sense of despair that characterized parts of New York during the era ([10:15]).

Blaxploitation Films: Definition and Examples

Alison inquires about blaxploitation films, leading Hoberman to define the genre ([21:49]). He traces its origins to independent productions like "Sweet Back's Bad Ass Song" before Hollywood mainstreamed films like "Shaft" and "Superfly". Hoberman commends "Cotton Comes to Harlem" and "Black Caesar" as standout examples, noting their authentic Harlem settings and cultural significance.

Listener Insights and Favorite Films

Throughout the episode, audience members share their favorite New York City films from the 60s and 70s, providing personal connections and diverse perspectives. Notable mentions include:

• "Fatso": Celebrated for its ethical portrayal of the Italian American experience ([08:21]).
• "The Taking of Pelham 123": Praised for its realistic depiction of the subway system ([26:56]).
• "Law and Disorder": Described as a unique police comedy that transitions into tragedy ([26:12]).

These listener interactions enrich the conversation, highlighting the enduring legacy and multifaceted impact of these films on both personal and cultural levels.

Conclusion and Final Thoughts

Alison wraps up the episode by reiterating the significance of Jay Hoberman’s contributions through the Fun City series and his insightful analysis of New York’s cinematic history. The discussion underscores how the films of the 60s and 70s not only captured the essence of New York City but also influenced broader filmmaking trends, leaving a lasting legacy that continues to resonate with audiences today.

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For those interested in exploring these iconic films, the Criterion Channel’s Fun City: New York City Woos Hollywood, Flirts with Disaster series curated by Jay Hoberman is available to stream starting tomorrow. Share your favorite New York City movies from the 60s and 70s by calling WNYC at 212-433-9692.

Notable Quotes:

• Jay Hoberman [03:26]: "It really was Lindsay's idea. And what he did was he cut through a lot of red tape. It used to be impossible basically, to shoot on the street in New York."

• Jay Hoberman [04:28]: "They probably helped to stimulate location shooting in general. The New York crime films tended to be tougher, more brutal even, maybe just in the suggestion because you're shooting it on these actual mean streets."

• Jay Hoberman [21:49]: "Blaxploitation began with independent productions like 'Sweet Back's Bad Ass Song' and quickly evolved as Hollywood tried to capitalize with films like 'Shaft' and 'Superfly'."

• Jay Hoberman [15:18]: "Coming after this, he [Coppola] was, you know, he made one interesting movie, kind of a road film, and then he got roped into making 'Finian's Rainbow'. There’s not much in this that would lead you to the Godfather, except the locations and the feel for the city."

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This episode of "All Of It" not only celebrates the rich cinematic history of New York City but also invites listeners to engage with their own memories and favorite films, fostering a communal appreciation for the city's cultural tapestry.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. You chose to hit play on this podcast today. Smart Choice make another smart choice with Auto Quote Explorer to compare rates for multiple car insurance companies all at once. Try [e-mail] Progressive Casualty Insurance Company and affiliates not available in all states or situations. Prices vary based on how you buy.

[Jay Hoberman]

Listener Supported WNYC Studios.

[Alison Stewart]

This is all of It. I'm Alison Stewart live from the WNYC Studios in soho. Thank you for spending part of your day with us. I'm also grateful that you're here and grateful to host Kusha Navadar, David Fuerst and Tiffany Hansen, who filled in for me while I was on vacation. I went on a NAT tour, a Nat Geo tour of Morocco. If you're interested in checking out my pictures, they're on Iamalison Stewart on Instagram. It was wild. Coming up on the show today, we'll kick off this month's full bio conversation with Susan Morrison. She's the author of Lorne the Man who Invented Saturday Night Live. And we'll learn about the art of taking portraits of SNL cast members and guests with Mary Ellen Matthews, who's been photographing the show for 25 years. Plus, we'll learn about a new installment of the documentary series Eyes on the Prize. That's the plan. So let's get this started with a cinematic look at New York City in the late 60s and 70s. In 1966, New York's mayor, John Lindsay established the Office of Film, Theater and Broadcasting. The hopes were to encourage artistic and, frankly, economic development in the city. It was a turbulent time for New York and the movies that emerged from this period. It reflected the city's grit, danger, opportunity and resilience. Starting tomorrow, the Criterion Channel is offering a selection of films created here in New York during the 60s and 70s. The series is titled Fun City. New York City Woos Hollywood, Flirts with Disaster. It includes crime classics like Dog Day Afternoon and the taking of Pelham 123, blaxploitation films like Cotton Comes to Harlem, and even an unlikely Clint Eastwood western set right here in the City. The series was curated by Jay Hoberman, a longtime film critic who began writing for the Village Voice in the late 70s. He is also the author of the forthcoming book Everything is now the 1960s New York avant Garde Primal Happenings, Underground Movies, Radicals, Pop. It'll be published on May 27, and the films we'll be talking about today will be available to stream on the Criterion Channel. Starting tomorrow. I'm joined by J Hoberman. Hi, nice to meet you.

[Jay Hoberman]

Hi, nice to be here.

[Alison Stewart]

Listeners, we want to hear from you. What's your favorite New York City movie from the 60s and 70s? What do you love about movies from that period? We're talking about New York City movies from the 60s and 70s. Our number is 2124-3396-9221-2433. WNYC. You can call in, you can join us on air, or you can text that number as well. 212-433-9692. So this new, this new film office in 1966 was established. Who lobbied for the office?

[Jay Hoberman]

It really was Lindsay's idea. And what he, he did was he cut through a lot of red tape tape. It used to be impossible basically, to shoot on the street in, in. In New York. I mean, there were filmmakers who did it, but. But it was very, very difficult, and he made it much easier. And he was totally into this. I mean, he made it his. His thing. He showed up at the various shoots. You know, he officiated over the New York Film Critics Circle dinner one year. I mean, it was, in a way, it was like LaGuardia reading the comics.

[Alison Stewart]

When you think about why filmmakers wanted to shoot in New York, once we made it possible for them to come to shoot, why did they want to shoot in New York?

[Jay Hoberman]

Well, the location. I mean, you can't build this on a. On a movie set. And once they got here, they really dug into it.

[Alison Stewart]

How do you think it influenced films that came out of Hollywood?

[Jay Hoberman]

Well, I think that, you know, they probably, you know, helped to stimulate location shooting in general. I mean, so, I mean, there were other. I mean, something like Easy Rider Goes Cross country, you know, shooting on location. And I think that the New York crime films tended to be tougher, more brutal even, maybe just in the suggestion because, you know, you're shooting it, you know, on these actual mean streets and so on. So I think that that had an impact as well.

[Alison Stewart]

I was so excited when they said you were coming in because I remember you as the critic from the Village Voice. That's amazing. During that period when you were starting as a film critic, what kind of films were you attracted to?

[Jay Hoberman]

Well, let me say that first of all, most of the films in this series I saw as a civilian. I mean, they came out. Yeah, I mean, I was, I was, I was going to movies a lot of times on 42nd street, you know, in the, in the late 60s and the 70s. But when I started at the Voice, I was interested in avant garde Films, documentaries, foreign films from countries that the other critics weren't particularly interested in.

[Alison Stewart]

So you say in this. That this era of filmmaking is now the stuff of legend. A key cinematic moment that would forever shape the identity of New York. How did these movies shape New York's identity?

[Jay Hoberman]

Well, I think that, you know, people thought of New York and particularly the neighborhoods where the films were shot. I mean, you know, the big location was around 127th street in East Harlem because that's where the Filmways studio was. And so they just used the streets around there and that became New York. I mean, also, you know, shooting on the. On the Upper west side, you know, which was much grittier.

[Alison Stewart]

Yes.

[Jay Hoberman]

Then it since became, I think that people got a sense of Manhattan as a tough town. Let's say.

[Alison Stewart]

Let's take a call. This is Jonathan. He is calling in from Brooklyn. Hi, Jonathan. Thanks for taking the time to call wnyc. You're on the air.

[Caller]

Hey, thanks for having me. And, Mr. Hoberman, your book sounds amazing. I can't wait to read it. Yeah, it's my favorite era of New York history and movies. So a film that has always resonated with me is Midnight Cowboy. I think that dark and disturbing look at the city in the late 60s. And then I think foreshadowing or pretending what was to come in the 70s, all of it, you know, the cold desperation of city falling apart. What was going on with arts and culture. Troubled people being drawn to a decaying city and either being stuck there as Joe was, or rats or Rizzo, who could never get out and had never been out. And just how everybody was on their own and almost feral and having to survive in the city, I think, really painted an incredible picture.

[Jay Hoberman]

That. That's a key film. No, no, no question about it. It's not in this series. And neither is the French Connection, which is the other key film because they've shown a lot on. On. On Criterion. The thing, the point that I would make about Midnight Cowboy, though, is it's shot by a foreigner. John Schlesinger was making her his first movie in. In the US and this is true of a number of these movies were made. Half of them were made by native New Yorkers. The other half were made for. By people from.

[Alison Stewart]

That's interesting.

[Jay Hoberman]

Yeah, yeah. From, you know, a bunch of Czech filmmakers. Roman Polanski is Polish, you know, Schlesinger is English. Yeah. They had another perspective on New York.

[Alison Stewart]

Let's talk to Chris from Brooklyn. Hey, Chris, thanks for calling, all of it.

[Caller]

Hey, what an honor to talk to two pop culture icons. Hi there. I want to mention the movie fatsto with Dom DeLuise. That was a film that I think captured the tri state Italian American experience in, in the crystal clear way. And as a kid, I remember when that first showed up on cable, one of the early cable movies. My family would get together and watch this and howl and all my aunts and uncles, my mother just screaming and laughing and realizing after seeing it with my wife a few years ago, it is the loudest movie you could ever see.

[Jay Hoberman]

You made me want to revisit it. Should mention that Ann Bancroft directed that movie.

[Alison Stewart]

There you go. Let's talk about some of the films that you curated for this series. My guest, by the way, is Jay Hoverman curated the new Criterion Channel series Fun City, New York City. Woo's Hollywood Flirts with Disaster will be starting, available tomorrow. Okay, we're going to talk about Panic in Needle Park. It's about heroin addicts on the Upper west side. A very different Upper west side. Let's listen to a little bit of the trailer.

[Trailer Narrator]

The intersection at Broadway and 72nd street on New York's west side is officially known as Sherman Square. It's called Needle Park. It is here in the neighborhood of Needle park that drug addicts live and steal and hustle and somehow manage to exist from one day to the next.

[Alison Stewart]

Hey, what's up? What's the matter, man?

[Trailer Narrator]

And it's here that Bobby and Helen find each other.

[Alison Stewart]

They don't find each other at the Trader Joe's. Definitely not.

[Jay Hoberman]

But it is a love story.

[Alison Stewart]

What does this tell us about the Upper west side of this time?

[Jay Hoberman]

Well, I mean, it's, it's shown in the movie as everything, anything, you know, like an open air drug market. I mean, the park is a little triangle, you know, between the avenues. They were actually. They shot it one down from, from the actual. Yeah, but still it's the same, the same kind of thing. No, I mean the, the west side is just full of, full of junkies and, and pushers and hustlers. That's, that's, that's the stars.

[Alison Stewart]

Al Pacino, he's kind of a sweet guy.

[Jay Hoberman]

Kind of a sweet guy. And I would say that, that in this series there are, there's, there are two real standouts. I mean, there's Pacino the actor. And you know, Pacino is like, you cannot be more New York than Al Pacino. And he's great in this very young. But you know, in Dog Day Afternoon, he's mind boggling and the director.

[Alison Stewart]

So good, such a good movie.

[Jay Hoberman]

And the director of Dog Day Afternoon, Sidney Lumet, did his best work shooting in New York. And he also has an interesting New York background. His family, they were involved in Yiddish theater. He grew up, you know, on the east side and so on. And so I think that those guys were like the, in a way, the stars of this series.

[Alison Stewart]

Attica. Let's talk to Robert in the Bronx. Hi, Robert.

[Caller]

Yes, thanks for taking my call. I think one of the most underrated 70s movies and every time it's on, I gotta watch it, is the 7 ups with Roy Scheider, Bill Hickman. It just caught that essence. It's a great cop story. A fantastic chase scene through Manhattan. They go over the George Washington Bridge and they're shooting scenes over by Little Italy, Pelham Parkway, Co Op City. And I grew up in the Bronx, so it's like to see these places now. Like you said, there's no Trader Joe's there anymore. Now there's a Trader Joe's there. Before it was just this very rough and it really. Every time it's on Turner Classics I have to dvr. I just. I drive my wife crazy. Because you saw. I know I saw it. But it's one of those things where I just love those movies that. But that one, this doesn't. He always says they get the French Connection and you get like, you know, those types of movies. But the 7 ups was always just one step below. But I always thought it was the best movie around. Yeah, taking a Pelham One Two Three. Can't go wrong with that.

[Jay Hoberman]

That's great. Have you seen across 110th Street?

[Caller]

I believe I saw it on Turner Classics a while ago. And a NATO park one was on a few months ago.

[Alison Stewart]

Pretty good. We've got some other taxis here. I mean other texts here. I think Taxi Driver and Saturday Night Fever are great. New cities films from the 90s, from the 70s. Excuse me. We also have Kloot. Let's the Warriors. Can you dig it? Let's start with the oldest movie on the list, actually. 1966. You're a big Boy now, which is a comedy directed by Francis Ford Coppola. It's about a New York City public library employee's relationship with a Go Go dancer. How would you describe this film?

[Jay Hoberman]

Well, it's kind of a new wave film. I mean, very self consciously wacky. A lot, a lot of locations, really crazy locations. You know, Coppola is a native New Yorker too. I would throw that in and you know A youth oriented film with a. I'm trying to remember what band did the. Did the music for it. It was. I don't think it was the Loving Spoonful, but it, you know, it was something like that. Some, you know, some kind of folk rock band. And. Yeah, it's an attempt to make an indigenous version of a French New wave film, in a way. And that was the first film. I mean, that's the film. It actually predates the mayor's office. Lindsay intervened in person to allow Coppola, who was a kid, I mean, to have access to all these locations.

[Alison Stewart]

It was love and Spoonful, by the way. And let's listen to a little bit of the trailer from. You're a big boy Now.

[Trailer Narrator]

This is a boy. His name is Bernard. He has a mommy, a daddy, a doggie, and contact lenses. You might say he has everything a boy needs to be happy. But Bernard is not happy. Why? It's very simple. He doesn't want to be a boy anymore. What he really wants to be is a big boy. Rhoda. A man among men, among women. So one day, while roller skating around the public library, Bernard decided to make the big move. Leave home and make out on his own.

[Jay Hoberman]

Don't eat too much.

[Caller]

Don't stay out.

[Alison Stewart]

Could listen to that forever. What do you think about this film? What signs does this film show that Coppola is going to be a good director?

[Jay Hoberman]

That's a good question because, you know, coming after this, he was, you know, he. Well, he made one interesting movie, kind of a road film, and then he got roped into making Finian's Rainbow. I would say that there's. There's not much in this that would lead you to the Godfather, except, I guess, the locations, you know, and the feel for the city.

[Alison Stewart]

My guest is film critic Jay Hoberman. He curated the new Criterion Channel series, Fun City. New York City Woos Hollywood, flirts with disaster. It features New York City films from the 60s and 70s. It's available to stream on the Criterion Channel starting tomorrow. Listeners, we want to hear from you. What's your favorite New York City movie from the 60s or 70s? Do you like crime movies? You want to tell us about a blaxploitation film that you like? Give us a call. 2124-3396-9221-2433. WNYC. Let's talk to Craig, who's calling from Morganville. Hi, Craig.

[Caller]

Hey, guys. How you doing? A movie that was not New York oriented, but was a spy thriller, but took place in your Three Days of the Condor with Robert Redford and the backdrops of New York at night went into a couple of the projects and some brownstones. And the way that you looked at the city at night looked intriguing but also dangerous. How they made mundane things that could be a rough thing, like a mailman with a machine gun, you know, before we knew what postal. Going postal meant, you know. And also Coogan's Bluff with Clint Eastwood, that was also a good New York movie.

[Alison Stewart]

That's on your list?

[Jay Hoberman]

That's on my list. Coogan's Bluff is sort of the reverse of Midnight Cowboy, because here you have a real cowboy, you know, a deputy sheriff from Arizona comes to New York, you know, and runs into all kinds of problems, really. He's getting dissed right and left, you know, by all the urban characters. But he prevails, you know, so. And then he goes back, of course, to Arizona. So he's a successful fish out of water, where Joe Buck is not really such a successful cowboy in New York.

[Alison Stewart]

Are there elements of a Western, like, in a Western?

[Jay Hoberman]

Well, in a funny sort of way, if you consider. It's like Fort Apache, the Bronx, in a way, you know. I mean, if you consider. Consider New York as like, a place full of, you know, like, dangerous, you know, like types, you know, primitives, whatever.

[Alison Stewart]

This is Brian from Windsor Terrace. He said, I live on the block where Dog Day Afternoon was shot. And you can still see a few ghosts of the movies on buildings up and down the block. There's an excellent hot dog stand across from the bank called Dog Day Afternoon. Also, I wanted to plug Harold Lloyd Speedy, which has street scenes from New York City from 1926, some of the earliest footage of the city on film. So fun and fascinating.

[Jay Hoberman]

I wanted to. Just to come back to the previous question for a second when he talks about New York being made as a menacing place. Rosemary's Baby is a great example of that.

[Alison Stewart]

Never want to go in the Dakota.

[Jay Hoberman]

After that or anywhere. I mean, anything could happen to you anywhere. You know, the phone booth by Central park and so on.

[Alison Stewart]

I loved Next Stop Greenwich Village. It was my dream as a kid from Queens to live in the Village.

[Jay Hoberman]

Mine, too.

[Alison Stewart]

Also on your list, you have Bye bye Braverman from 1968, about four Jewish friends who are carpooling to the funeral of their friend who died young. How does this film, how does it age?

[Jay Hoberman]

Well, I have to say that I love this movie. And when it came out, the reviews are fascinating because they were saying, that's a New York movie. And it should stay there maybe because it just was considered too ethnic, but ethnic in a very specific way. Because the protagonists are four Jewish intellectuals, you know, Partisan Review types or Partisan Review wannabe types. I mean, so that's already. And they're making jokes about popular culture and so on. And, you know, they go on this absurd trip to a funeral. But yeah, I mean, I think that it was a sleeper and that it. For me, it still holds up.

[Alison Stewart]

The Plot Against Harry, a 1969 comedy directed by Michael Romer. It was filmed in 1969, but didn't have a theatrical release until the 1980s. What happened?

[Jay Hoberman]

Well, that's another Jewish joke in a way, as a film. I mean, you know, Roemer was a. He came over as an emigre, you know, came to New York in the late 30s and grew up here, more or less. And he got into independent film. He made Nothing But a Man, which is a terrific independent film from the early 60s. And then he got involved in this other. This, you know, sort of passion project, which is a very funny premise. It's about this numbers guy who is sent up, you know, for nine months or something. And when he gets out, he's lost his operation, he's lost it. And he has to try and figure out. Trying to get it back is. And in the meantime, he runs into his estranged wife and former in laws who are kind of like welcoming him back into their. To their Jewish family. I mean, it's very funny. It's very funny. And it's all on location and it's all with like non actors or off Broadway actors who are having a great time.

[Alison Stewart]

Let's talk to Alex, who's calling in from Park Slope. Hey, Alex, thanks for calling wnyc. You're on the air.

[Caller]

Yeah, thanks for taking my call. By the way, Jay Hoberman. I grew up reading your reviews in the Village Voice. Thank you so much for all those years. I'm from Park Slope and everybody always told me to watch this film called the Landlord by hal Ashby from 1970. And anyway, when I finally saw it, it was just so wild to see parts of the neighborhood back then in 1970, but also still resonates today about gentrification and racial politics. But it's also really, really weird. That's all I wanted to say. Thank you.

[Jay Hoberman]

It's terrific. We wanted to show that, but it was not available.

[Alison Stewart]

I wanted to ask you about blaxploitation films. So can you define what blaxploitation films means?

[Jay Hoberman]

Okay, well, first of all, the term Comes from Variety. Yeah. So it was. It was an inside showbiz term. I mean, the first example is really sweet. Sweet Backs, Bad Ass Song, which was a totally independent production and in a sense came out of nowhere. Although Melvin Van Peebles had. Had made movies before and did incredibly well. I believe it opened in Detroit. I mean, it just, you know, completely knocked the industry for. For a loop. And so very quickly, Hollywood tried to catch up, you know, with Shaft and Superfly are the best known, and they have sort of New York locations, but they're, In a way, they're. They're much more Hollywood. There are some good examples in this. First of all, Cotton Comes to Harlem, directed by Ossie Davis, is a very good and I think, underappreciated movie, which was entirely shot in Harlem. And I mean, that's. He knows it.

[Alison Stewart]

The great Ozzie Davis, too.

[Caller]

Yeah.

[Jay Hoberman]

Yeah. And. Well, he just directed, but he didn't. But even so, I mean, it's. It's. It's based on Chester Himes. I mean, it's. It's a very gritty film. So, you know, it's funny, that came out before the term blaxploitation. It just was just interesting. Yeah, it was. It was just, you know, like a. Like an urban comedy sort of comedy drama. You know, it then became. I mean, blaxploitation became a kind of B movie staple. Some of them are. Are better than. Than others. I think that across 110th street, you know, I. I think is very strong. Also. Black Caesar.

[Alison Stewart]

Yeah.

[Jay Hoberman]

Which has the James Brown soundtrack and is shot not only in. In Harlem, but. But they went across the river and shot some of it in the. In the South Bronx. So that's a very tough film. But, you know, there was an audience and, you know, it was. They were making movies for them.

[Alison Stewart]

Let's listen to a little bit of the trailer for Cotton Comes to Harlem.

[Trailer Narrator]

Introducing two cops only a mother could love. Meet Coffin Ed Johnson and Gravedigger Jones, two of New York's finest. Two cops who take charge when an $87,000 bale of cotton comes to heart. Harlem.

[Caller]

Tell me something, will you?

[Trailer Narrator]

What's the bale of cotton doing in Harlem?

[Alison Stewart]

A bale of cotton. Bale.

[Caller]

Cotton. No.

[Alison Stewart]

What would a bale of cotton be doing in Harlem?

[Jay Hoberman]

Down South, Cotton was.

[Trailer Narrator]

Cotton Comes to Harlem. It's cops and robbers with a shade of difference.

[Alison Stewart]

I just had to get that in there.

[Jay Hoberman]

Yeah. You know, and I love the way the guy says Harlem. Harlem. You know, completely. That's. Yeah.

[Alison Stewart]

Let's Take another call. Let's call Liza. Liza from Fairfield, Connecticut. Hey, Liza, thanks for calling, all of it.

[Caller]

Hi. Thanks for taking my call. So I grew up on the Upper west side, and I remember when I was a kid, my dad took me to see Wish List. Death Wish. Death. Death Wish. Do you remember that movie?

[Jay Hoberman]

Oh, yeah.

[Caller]

Yes. Oh, my God. That was the scariest movie ever.

[Jay Hoberman]

Yeah. Why would he take you to see that?

[Caller]

I know my mother was very upset. Very upset. But that was. That was scary. But that was New York.

[Alison Stewart]

That was New York.

[Jay Hoberman]

Yep.

[Alison Stewart]

Let's talk to Ron from Rockland County. Hi, Ron. Thanks for calling, all of it.

[Caller]

Yeah, thanks for taking me on the show. One of the movies that I always associate certainly with New York was the movie Joe with Peter Boyle, Susan Sarandon. Great movie. Classic scene in Greenwich Village. They're walking through the head shop trying to. This underlying plot of trying to find this other guy's daughter. And the poster of Nixon on the wall. And Joe, in his inimitable way, looks over to Compton, the guy he's walking through the head shop with, and he goes, if you can't. And it was a picture of Nixon and it says, would you buy a used car from this man? And he looks over to the guy and says, if you can't buy a used car from the President United States State, who can you buy used car from?

[Alison Stewart]

Thanks for calling. Let's talk to Nick. Nick, you're going to finish us out. Tell us what your favorite movie is.

[Caller]

Oh, great. You know, I had. I have a few. I was thinking. I thought of one after I spoke with your screener that I really loved, which was Law and Disorder, a really strange police comedy that turns into a tragedy. So I. It was the first movie that I saw that I couldn't categorize with Carol O'Connor and Ernest Borgnine. It's all over New York. Well, you know, but then there was also.

[Alison Stewart]

Oh, yeah, you know what? I'm gonna. I'm gonna dive in here because the first thing you told our screener. But that's a finance. Financer. I'm glad you said it was Pelham taking of Pelham one two three.

[Caller]

Yep.

[Alison Stewart]

The taking of Pelham 123. Why is this so important?

[Jay Hoberman]

Well, I think the taking Pelham 123, which was, you know, Lindsay approved that on the way out because they really needed a lot of look, you know, in the subway and this. And the other thing. I think that it's one of those. It's one of the few really, that gives you an idea of, like, how hard it is to manage New York. I mean, you know, it really gives you a sense of, you know, all the things that go into, you know, like making the subways run and this and that. And aside from the fact that it's, it's also very funny in some, in some ways, you know, the collection of people who are trapped on the subway or, you know, it's. Has a kind of authenticity, even though it's like a wild premise.

[Alison Stewart]

My guest has been critic Jay Hoberman. He curated the new Criterion Channel series Fun City. New York City Woos Hollywood, Flirts with Disaster. It features New York City film from the 60s and the 70s. Is available to stream on the Criterion Channel starting tomorrow. Thank you so much for coming to the studio. It was a real pleasure to meet you.

[Jay Hoberman]

For me too.

[Caller]

I'm Ira Flato, host of Science Friday.

[Jay Hoberman]

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[Alison Stewart]

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[Jay Hoberman]

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[Caller]

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[Jay Hoberman]

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[Alison Stewart]

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