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Lulu On The Bridge

1999, Movie, PG-13, 103 mins

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After a madman shoots him in the lung and brings his saxophone career to a premature halt, sullen jazz legend Izzy Mauer (Harvey Keitel) luxuriates in self-pity. Why? Because he can. One night, a whining Izzy stumbles upon a dead man and steals his briefcase. Inside, he finds a magical stone that not only levitates, it revives his will to live, too. The corpse's belongings also yield the phone number of struggling actress named Celia Burns (Mia Sorvino). Soon, Izzy's sharing himself and his glow-in-the-dark stone with Celia. Coincidentally, Izzy's friends are casting a remake of G.W. Pabst's PANDORA'S BOX. Izzy coaxes them to give Celia the plum role. While Celia's on location, Izzy gets kidnapped by Dr. Van Horn (Willem Dafoe), the awesome stone's creator. When Dr. Van Horn's thugs locate Celia, she panics and dives off a bridge. Is she dead? Or does this arty twaddle merely represent Izzy's feverish dreams after being shot and injured? As with THE WIZARD OF OZ, this pretentious film's reality turns out to be a dream, and one can only dream about the precise intentions of Paul Auster, the acclaimed novelist turned director who's responsible for it. Auster's murky film ruminates about the selfless power of love versus the artist's need to create — a need that overrides personal relationships. Why, then, use PANDORA'S BOX, an examination of self-destructive sexuality, as a springboard? Why superimpose the mystique of Lulu's archetypal amorality onto the saga of a boorish male's midlife crisis? For a movie besotted with symbolic magic, LULU manages to supply very little of its own. leave a comment --Robert Pardi
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