Product Description

Before he met her, he was convinced that no love could last forever. Now, he'd give anything to prove himself wrong. Richard Gere (Runaway Bride) and Golden GlobeÂ(r) winner Winona Ryder (Girl, Interrupted) star in this tender, compelling love story that will stir your soul and touch your heart. At 48 years old, Manhattan restaurateur Will Keane (Gere) is handsome, successful, single and determined to keep it that way. A consummate playboy who's perfected the art of casual romance, Will adores women, but has never thought seriously about marriage or commitment until he meets Charlotte Fielding (Ryder). Charming, vivacious and radiantly beautiful, Charlotte is unlike anyone Will's ever known before, and as their relationship blossoms from a heated one-night stand into something rare and wonderful, they both realize that this love will last a lifetime. But, for Charlotte, a lifetime may be much shorter than either of them is prepared to accept.

Product Details

• Amazon Sales Rank: #9643 in DVD
• Brand: GERE,RICHARD/RYDER,
• Model: ISBN# 0792848004
• Released on: 2001-01-02
• Rating: PG-13 (Parental Guidance Suggested)
• Aspect ratio: 1.33:1
• Formats: Closed-captioned, Color, Dolby, DVD, Widescreen, NTSC
• Original language: English, French, Spanish
• Subtitled in: Spanish, French
• Dubbed in: Spanish
• Number of discs: 1
• Dimensions: .25 pounds
• Running time: 103 minutes

Amazon.com
Autumn in New York is a by-the-numbers love story, right down to its opening shot of, yes, autumn in New York. Richard Gere stars as restaurateur/lady's man Will, while Winona Ryder plays the airy-fairy, oh-too-delicate-for-this-world Charlotte. Will is 48, Charlotte is 22, and it just keeps getting creepier: Will actually used to hang out with Charlotte's mom. She plays artily with beads and sparkly things, he notices how elfin and different she is (inspiring such stomach-churning dialogue as "I find you completely unprecedented and therefore utterly unpredictable"), and soon they're in love. Ah, but it's doomed: she has a tumor in her heart (just in case you missed the significance, Charlotte says "I'm sick in my heart!"). Does Charlotte have enough time left to teach Will to truly love? While Gere does a stoic job, Ryder spends a lot of time being darling and winsome, aided by the fact that Charlotte has managed to catch one of those special movie diseases where you never look bad or get tubes stuck up your nose. Director Joan Chen doesn't have much of a script to work with, but at least she knows how to pick a cinematographer; the whole movie is shot in gorgeous fall-leaf colors. Several excellent supporting actors are trapped in this movie: Jill Hennessey and Anthony LaPaglia do their very best, but what can they do in the face of such a sweeping, creepy love? Autumn in New York is nothing if not an earnest movie, and it certainly means well. Much like Charlotte, it seems to cry, "Can you let me love you? Please?" No. --Ali Davis

Customer Reviews

Some Tough Issues To Deal With
An unlikely romance lies at the heart of "Autumn In New York," a visually poetic film directed by Joan Chen and starring Richard Gere and Winona Ryder as the couple who defy the odds of a difference in age and the knowledge that time is not on their side to pursue that most elusive butterfly, love. Gere is Will, a successful restaurant owner who, at 48, falls for the much younger Charlotte (Ryder). Whether or not it can or will work is the question; Will has a history with Charlotte's late mother, the fact of which her grandmother, Dolly (Elaine Stritch), fails to inform her, not that it would have had a direct influence on the romance in any case. For who among us can define love or explain it? And who can really explain how and why these two come together in the first place? Will is a notorious womanizer, while Charlotte has a singular issue of her own with which to deal. When it comes right down to it, and with everything considered, all bets should be off. but it's autumn, not only in New York, but in the lives of Will and Charlotte as well. Cinematically, New York City has rarely looked more beautiful; this is not the city of "West Side Story," but a lyrical land of myriad colors and picturesque vistas. Beyond the chill of the season there is an alluring warmth to the surroundings that contrast splendidly with the more dire, unsettling events unfolding within the story. The performances of Gere and Ryder are outstanding, but just how successfully these characters will connect with an audience is open to question. Whether or not you will be able to sympathize or identify with them will depend heavily on your own personal state of mind and frame of reference. To like Will, one must be willing and able to forgive much; it's a tough character not to pass judgment on. Unlike "Scrooge" you get the feeling that Christmas may not last throughout the year with Will, despite the life-altering circumstances he ultimately encounters. Charlotte on the other hand, is an endearing character; she makes no pretense of her situation, which she deals with in an open and honest manner. And the winsome Ryder, who can say so much with her eyes alone, will capture even the most astute cynic with a single, penetrating glance. It may be difficult to understand some of the choices she makes, but in the end it becomes a matter of walking a mile in the other person's shoes. You can speculate as to how you would handle a given situation, but the truth of the matter is, no one knows until it actually happens to them. The supporting cast includes Anthony LaPaglia (John), Sherry Stringfield (Sarah) and Vera Farmiga (Lisa). With "Autumn In New York," Chen has delivered a thoughtful, visually stunning film, a romance that is somewhat different than the usual fare. There is an unexpected lack of emotional impact, which can only be attributed to Gere's character (not to be confused with his performance), but this is an exceptionally well made movie; how it will be received, however, is in the final analysis going to be quite simply a matter of personal taste.

Much more than it seems
The DVD could have more special features; a commentary by the Director (Joan Chen); interviews with the principal actors; commentary by the composer. Out takes. We get none of these. But the film is well crafted, very well written and entertaining. So this purchase is a good one.

On its beautiful surface, Autumn in New York is a typical romance. From the colors-all golden-red (leaves), plum-colored (dresses, sweaters), warm orange (lamps), subtle charcoal grays, elegant blacks, rich ivories, and crystalline whites-to the pale beauty of the ingenue (Charlotte), often the brightest image on the screen and therefore the place to which our eye is naturally drawn. Will with his thick silver mane, mature good looks and urbane way, complements her perfectly. But this is a subtle, sly film and not everything is what it seems. The director (Chen) tells us as much in a brief transition scene when a briskly walking Charlotte slows to ask an elderly woman on the street if she needs help shortly after we have seen Charlotte herself collapse in the previous scene. Charlotte is a woman-child contradiction, sometimes having more in common with the children (her bedtime-story butterfly scene) of Will's contemporaries than with Will himself ("I'm a creep. You're a kid.").

The story and dialogue are spiced with irony and delicious inversions. Charlotte for all her seemingly naïve "wow"ness seems to control the outcome of most events planned by Will. In their first extended conversation (on the phone) he points out that she says "wow" an awful lot. ("You're all grown up now. When is that going to stop.") But when she emerges from the limo in a gown he bought for their date, it is his turn to say "wow." (You will too when you see Ryder in the dress). Later in the evening, Charlotte takes Will's "unprecedented and therefore utterly unpredictable," come-on line, identifies it as such, then declares it true not because of anything Will intended, but in spite of him. He thinks he's doing the seducing but in fact it is she who seduces him (the stairway scene). The morning after (breakfast scene), he tells her they have no future, "only what we have now." But it is Charlotte who trumps him by taking his standard noncommitment line, quoting it back to him after having given it a deeper meaning (she'll soon be dead), once again making it her own. Between the two, it is she who wields power through language and through the intensity with which she occupies time: "What shall we do, Will...with this moment that we're in?"

Despite her poetizing, soft voice and impeccable manners, there is a voracious quality to Charlotte's love. It is selfish (she knows, as does Will, that she will be the one to leave), hurried ("I'm way out front in the love race.") and implacable ("...give it...share it!"). Charlotte has to live and love a lifetime in a single season. Will is actually the young kid in the way he lives his life; a string of young women with no commitments, an out-of-wedlock daughter he has ignored, his casual betrayal of Charlotte with an ex-girlfriend at a party. His use of language in not taking responsibility for his behavior: ("I guess I had sex with Lynn McHale...")

So what we have is this duality, a romantic, poetic surface contrasted with a pragmatic underside where we get a good look at the gears of love's machinery. This begins in the second scene of the film in the kitchen of 458. Will is busy locating a Chilean bass that is masquerading as an Arctic Char, finds the bouilla baisse missing. Lots of cursing, complaining, and asking for raises. All of this activity is the basis for the ambience out front. Charlotte, grandmother and friends are celebrating her 22nd birthday. After a charming introduction and a little witty reparte, Will sends over 3 bottles of Crystal. His maitre de knows it's an investment. This doubleness returns again when we overhear Will's driver and doorman chatting. The driver showed up early because it is raining. Charlotte and Will may be spending a romantic night out, but these guys are working. They are part of the machinery that helps make the romance possible. Charlotte delivers Will's hat and we see him chewing out one of his vendors for the quality of Parmegian cheese he had recently delivered. Will is still the tough taskmaster when he accuses Charlotte of being late. He recovers quickly enough with a compliment "what's the point of being young and beautiful if you can't keep men waiting," but we get the idea.

Of course the most powerful contrast of all is Will and Charlotte's last moment together. He recites poetry, they exchange expressions of love and commitment, but this romantic parting is harshly interrupted by the medicine-speak of Dr Grandy and a nurse as they burst into the room and brusquely roll Charlotte away for surgery. The romantic moment is not quite done but life has its own timetable. The last time we see Charlotte she is alone staring up at the harsh surgery light, to me, one of the more powerful moments in the film.

I could go on, the themes: the linking of sex and responsibility, truth and lies, birth and death, childhood versus adulthood, transitions (metamorphosis), time, surface and what lies beneath. The symbolism: white for death, purple for mourning, the butterflies, the swan image in Charlotte's art and the single swan in the last scene (they mate for life), reflections (windows, water, mirrors, glass beads). The sound track (especially the Elegy for Charlotte and Jennifer Paige's Beautiful during the credits) works perfectly. This film needs time and patience. Immerse yourself in it and Autumn in New York will yield its treasures a little at a time and move you deeply.

Extremely underrated.
I never did get all the negativity surrounding this movie, and having just seen it again recently, I have to say I still don't.

I've never disagreed so strongly with seemingly widespread opinion like this before (not with it being negative and me being positive anyway), but I do disagree. With just about every criticism levelled at this wonderful film, which ended up being one of my favorites of 2000. I thought all of it - the acting, the directing, the cinematography, the story - everything about this film, was excellent. The unfairness of the frequent personal attacks aside (like against Richard Gere, or Allison Burnett, or any of the other talent involved in this film), I think the majority of complaints about this film are just mass negative-bandwagon jumping (and maybe some sort of Hollywood political idiocy). I'm a guy, and I normally don't like "chick flicks" at all, but I loved this one, and it was the first one I remember that got to me emotionally since "Terms of Endearment" back in 1983. It works in spades. If you haven't seen it yet, go into it with an open mind and don't let what seems to be mass opinion sway you before the initial credits roll. Judging from my own personal experience and acquaintances, there are plenty of folks that adore this film, they're just not as vocal.

If I have any complaint about the film at all, it's with the editing mangling that MGM enforced on the film just prior to its semi-troubled release. It's quite readily apparent, even to the untrained eye. I sincerely wish I could one day see this movie as it was intended, via some Director's Cut release or such, even if I know that's not likely at this point. In any case, the cutting room antics have detracted somewhat from this great film, but certainly not enough to make it a bad one.

To Ms. Chen, Ms. Burnett, Mr. Gere, Ms. Ryder, and the rest of this film's fine talent: thank you. Some of us really did get it. To the rest: see it if you haven't, and judge it on its own merits. It's extremely and unfairly underrated.