Film Review: Real Tales from the City
By Tom Zaniello
"The City" is an unusual experiment in contemporary filmmaking,
not only in subject matter but in its overall conception and method of
building stories. Director David Riker has created four stories of Latino
immigrant life that typify some of their struggles--homelessness, dangerous
day work, difficulties in coping with urban life, and working without
immediate pay. His achievement will remind viewers of the approach pioneered
by the Italian neo-realist filmmakers after World War II--the use of
non-professionals in acting roles, nitty-gritty street life, and respect for
the working poor.
Riker began the journey, which became "The City" with a short
film, "The Puppeteer" (now the third episode), about a a homeless
man who wants to enroll his child in school. He decided to expand that first
film into a feature-length "anthology" focusing on Latino
immigrants facing typical and--in many cases--actual occurrences. His method
of filming, once he decided that he would use nonprofessionals for the key
roles, was to recruit workers literally from the streets, work with them in
creative and story-building sessions, and write a script out of their
experiences. Thus for "Bricks" he combined his research into
street corner labor pools and a specific story he had read in a newspaper
about a homeless man killed while scavenging for bricks in the Bronx:
"The idea of brick scavenging," he stated, "struck me as a
metaphor not only for the whole transformation of the city that is
occurring, but also for the idea of uprooted ness, which is the central
drama every immigrant experiences." He leafleted labor pools with a
Dominican organizer who worked for the Center for Immigrant Rights.
Similarly, for "Seamstress," he handed out 40,000 leaflets
during shift changes in the Eight Avenue apparel workshops. Workers curious
to see what he was up to watched "Bricks" to understand what they
were getting involved with. The story that evolved was a portrait of a
worker who badly needs her overdue pay to help a sick relative: her
employers treat this "demand" as some kind of rebellion. The drill
for "Home" was a little different, in that it came out of an
invitation to a young girl's Mexican Sweet 15 party: "Seeing this
cultural tradition so firmly transported from Mexico to the Bronx," he
asked the girl's father to re-create the party for his camera. The man
agreed and invited 200 of his relatives to "stage" the party
again.
The framing story of these four urban tales of Latino immigrants in
contemporary New York City is a neighborhood photographers' studio. Here the
very poor and the working poor spend their money on photos, perhaps to send
back home, perhaps just to memorialize certain moments in their lives. For a
brief moment they smile or even laugh, as each one of the principal
characters in the four tales takes his or her place before the camera. Their
friends and neighbors and even other strangers are included in these brief
connecting moments to give us a sense of a community captured in an instant.
But usually only the faces are shown in this fascinating and authentic way
of linking the seemingly unrelated characters from the four stories.
Zeitgeist, the film's distributor, has an excellent website (http://www.zei
tgeistfilm.com/current/the%20city/city.html),
with synopses of the four segments, production details, and helpful
information about the process of making this film, as well as information
regarding future film showings in various cities, as the film is currently
only in limited release.
Tom Zaniello is the author of Working Stiffs, Union Maids, Reds, and
Riffraff: An Organized Guide to Films about Labor
Tom can be reached by email at: tzaniello@NKU.EDU
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