Harry here, with the latest from that screen-dipping friend, Sherlock Jr. Seems he's a fairly busy chap, and well... Before I turn it over to him, I would like to comment on LIBERTY HEIGHTS, which I saw in Chicago. This is the best Neil Simon movie that Neil has had no part in. I loved it. I'll give ya more on it later on, when I write it up on my own, but it's my favorite of the Baltimore films from Levinson. And now... onto Sherlock Jr...

From: Sherlock Jr.

For those unable to experience the Phillip Glass/Kronos Quartet accompaniment to Tod Browning's DRACULA, it is already out on
tape but wait for the DVD in December which will have the ability to play with the new score as originally created...plus the Spanish
version with another actor. Should be a worthy addition to horror fan collections.

So what did I see this week:

LIBERTY HEIGHTS- Barry Levinson's returns to his native Baltimore for a tale of families in a Jewish neighborhood, with special
attention to the lives of the teenage sons. Joe Montegna plays the father. We open on Yom Kippur and during services, he leaves to
visit the Cadillac showroom to see and eventually make his annual purchase of a new Caddie. Seems Joe does quite well with a
numbers racket which supports his failing burlesque house. When one of his cronies suggests a new payoff scheme which should
increase bets, he agrees. Unfortunately somebody places a big bet and wins, threatening disaster for Joe if he has to pay out
$100,000. Complication ensue.

His two sons are interested in girls (surprise) but neither is Jewish. One son (beautifully played by Adrien Brody) ventures to the
other side of town with two of his buddies. At a costume party he falls in love with a blonde snow queen while one of his friends gets
into a fight because of his faith. The younger son (Ben Foster) develops an interest in an African American girl whose father is a top
surgeon and whom doesn't want his daughter even talking with "white boys." Both boys pursue the objects of their affection and both
result in dramatic confrontations.

I'm trying to give you the setup without giving away what really makes this film work. It looks great (cinematography and art
direction really capture the era), has terrific performances all around (except from Bebe Neuwirth ---Broadway star from CHICAGO,
etc.--- who I found really flat), and a knockout score of pop songs from the era. There is a running gag about reverence for Sinatra. I
haven't checked to see if the songs are accurate to the time period but they certainly are close enough. I have mixed feelings about
the use of Tom Waits songs. Several of his growling pieces are used during the burlesque scenes. They really work well in the
context (and these are the best burlesk scenes since THE NIGHT THEY RAIDED MINSKY'S) but seem a misstep relative to the
film's other music. The other music problem is really an unfair quibble. The grandmother often plays Yiddish songs but for anyone
who knows his singing voice, Mandy Patinkin is immediately recognizable but he would have been a baby at the time.

Minor issues though. The film is funny, touching and a terrific 2 hours in a continuation of the Baltimore films Levinson has treated
us to before (DINER, AVALON, TIN MEN).

Surely Warners is puzzled about how to market this. A very limited release in mid November won't be augmented until Jan/Feb.
Slow is good but they ought to grab some of the best art houses around for Thanksgiving and get a positive buzz going to carry it
through the holidays. Ten best lists and major Oscar noms are a longshot in a crowded field.

THE CRADLE WILL ROCK - Tim Robbins directs (but doesn't appear) in this intriguing story "based (mostly) on a true story"
according to the opening credits. During the 1930s as this country emerged from the depression, Roosevelt's WPA project created
jobs for people in many fields. One agency was responsible for developing live theater companies across the country with low
admission so the masses could experience the magic of a play. This support ranged from trying to save the dying art of vaudeville
(Bill Murray as a nearly washed up ventriloquist is both funny and sad) to encouraging ambitious young talents like Orson Welles
who was creating controversial plays. When composer Marc Blitzstein (Hank Azaria) finally finishes his score for THE CRADLE
WILL ROCK, Welles, producer John Houseman (Cary Elwes) and a wealthy benefactor (Vanessa Redgrave) insist on producing the
show. Homeless wannabe singer/actress (Emily Watson) gets a lead along with John Turturro. Meanwhile there is a government
investigation into the possibility of these artistic ventures being communist-influenced and a WPA office worker (Joan Cusack)
testifies with the support of Murray. John Rockefeller (John Cusack) hires Diego Rivera(Ruben Blades is a dead-ringer, as is the
actress playing his wife Frida Kahlo) to paint a mural for him which he hates when he understands it. Susan Sarandon plays a
woman representing Mussolini in his attempt to collect great art.

All of these stories mesh together beautifully in a 2 1/2 hour epic. At times it may be a bit hokey but it is still wonderful
sophisticated entertainment. Reaction from Cannes was mixed with U.S. critics largely disappointed. This is always one of the
dangers of being a Hollywood film at a major festival where the critics can be especially harsh. The final half hour when the play is
presented despite interference attempting to close it down, is superb filmmaking.

It is a miracle this got made by a studio. Joe Roth is given special thanks at the end and he is said to have championed the
project without interference. Thank you Mr. Roth. Now if only your marketing and distribution folks can figure out a way of reaching
audiences. The wonderful large ensemble cast appeals to an art house crowd more than the masses but can that release pattern
earn back what this must have cost? With ILLUMINATA (also with Turturro and Sarandon in a theatre story) having quickly faded, BV
must be mightily worried. But they should turn it into an art house, cultural film event and add more commercial runs as is
appropriate.

AMERICAN MOVIE -Seen at Sundance in January but opening today, this is one of the funniest movies I've ever seen. A
documentary following the life of an amateur horror film director in Wisconsin. He is making the low-budget THE COVEN in his spare
time using friends who are stoned or drunk more often than not. To tell any more is to spoil a hilarious 90 minutes. Watch for it
because it will be a slow release from Sony Classics, playing mainly in art houses. The Nuart in Los Angeles will show the finished
version of THE COVEN at midnight's with THE HOWLING.

THE GREEN MILE was screened at Showeast last week. Generally favorable reaction though exhibs worried about its 3 hour
running time, some feeling it moves too slowly. Try to get more info.

Saw a very early trailer for GONE IN 60 SECONDS, scheduled for next summer. A new Bruckheimer production starring Nick Cage,
Angelina Jolie and Robert Duvall, it is about car thieves and from the trailer is mostly car chases. Pretty sure this is based on an
all-but-forgotten 1974 low budget film by Toby Halicki which had a well-done 40 minute chase but we got tired of it after 15 minutes.
The trailer was pretty good (Cage asks Jolie "Which is more exciting----having sex or stealing cars?") and mostly action.

Will see SLEEPY HOLLOW next week. Can't wait.