WELCOME TO NEW YORK

US/France, 2014, 125 minutes, Colour.
Gerard Depardieu, Jacqueline Bissett, Maria Moute.
Directed by Abel Ferrara.

French politician and businessman, Dominique Strauss- Kahn, was head of the International Monetary Fund and thought of as a candidate for the French presidency. Very high profile.

When he was arrested in New York City, accused of sexually attacking a maid in his hotel, he fell from grace, spent time being interrogated by the local police, some time in prison, before a judge and finally granted bail. The case was settled out of court.

There were certain salacious aspects of the story, especially about Strauss- Kahn and his sexual behaviour. But, he was French. But, he offended in the United States.

This film was co-written and directed by Abel Ferrara, a significant director, never afraid of taking on dark and sleazy subjects, giving them a downbeat treatment unlike other film directors. At his best he maid films like Bad Lieutenant, as well is making a film about the last day in the life and death of Italian director, Pier Paolo Pasolini.

This film is in three acts. The first 30 minutes are almost unrelieved sexual activity, making the audience realise that the protagonist is not merely a womaniser as he is described but also a sex addict, a term in which he describes himself. Audiences may well be very uncomfortable during the first 30 minutes, seeing more activity (and more of actor Gerard Depardieu) than they might think necessary. But, it makes its point, culminating in his attack on the maid in the hotel.

The second act shows his leaving the hotel, leaving his phone behind, asking for it to be brought to the airport, in the meantime security and the police deciding to follow-up and removing him from the plane, taking him to holding cells, interviews, spurning him, with his discussions with his lawyer, appearing before the judge, his denying the charges, the interrogation of the maid and her version of what happened, his being released on a hefty bail.

The third act of the film is his release, staying in an expensive apartment, meeting with his wife of 20 years, played by Jacqueline Bissett, her love for him, her desperation, and the issue of his ambitions or not, and her ambitions, of his becoming the French President. At the end, there is quite a rumination on his part about his life, his addiction, his career, his ambitions or not.

Gerard Depardieu, as always, seems to fit whatever role he undertakes. There is a brief prologue where he discusses, as himself and as his role, his attitudes towards characters and making movies.

This kind of film does give some kind of insight into characters but, with the topic, always runs the danger of some sensationalising and exploitation.


1. Audience knowledge of the case with Dominique Strauss- Kahn? His position in the International Monetary Fund, possible contender for President of France? His behaviour in the city, the maid, accusations, arrest, imprisonment, court proceedings, verdict and aftermath?

2. The work of the director, his particular interest in some sleazy aspects of life, public life, politics? The tone of his films? Dark, the touch of the sensationalist or exploitative?

3. Gerard Depardieu? The prologue, the interview with Depardieu, as himself, as interpreting the role, his attitude towards movies?

4. The New York settings, offices, hotels, the rooms, the airport? The arrest, prison, holding cells, interview rooms, prisons? The musical score?

5. The first act: The introduction to Devereaux, his being presented as a womaniser, the comment made by his daughter, womaniser, but sex addict, which he later admitted, his behaviour with the women, leering, physical approaches, the women willing and unwilling? 30 minutes of the film showing Devereaux and his party, individually, with groups, with two women and lesbian tone, arranging escorts? Associates, the group, his meeting with them, orgiastic behaviour? The effect on him, seemingly insatiable? His crass behaviour, nudity, being finished with the women, self-satisfied? The hotels providing the rooms, with choice of women? And decadent lifestyle? His underlying business acumen?

6. His love of his daughter, the meal with her and her fiancé, pleasant, the particular thrust of his questions, explicitly sexual? Later scenes with his daughter, her understanding, describing his him as a womaniser?

7. Getting up in the morning at the hotel, the maid coming in, his accosting her, his behaviour, the reaction? The later interviews, his defence? The maid and the interrogation and the descriptions?

8. The complaints, the hotel management, the police, the airport, his leaving his phone behind and the using this as a pretext to approach him? His going into the plane, being taken, the guards accompanying him, handcuffed, taking him for interrogation?

9. The second act: his reactions, standing on his dignity, the experience of the police and their treatment, the attitudes of the police, spurning him? The handcuffs? The car, the questions? The holding cells, the other types there? His demands for his phone call and the officials’ delay? The interrogations, his explanations? His lawyers, the support, advice? Before the judge, the accusations, the attitude of the judge, the rooms, prosecution, defence, a case to answer? His being allowed bail?

10. The third act: his meeting with his wife? Her personality, style? Second wife? Many years married? Her supporting his career? Allowing for his
womanising? Her interest in his presidential candidature? Her love for him, yet her desperation, her attempts to help him? His response to her, in the apartment, the attention to detail, the kitchen, chairs, conversations? His wife’s revelation of her character and ambitions, the impact of the case, the cost of renting the apartment, the consequences? His responses, his acknowledging the womanising, yet his denial of the interaction with the maid? The continuing challenge to him, the dramatic move to his speeches of reflection on himself, his weaknesses, yet his self-justification, his attitudes towards the presidency, and the end of his life and career as he had known it?

11. The value of this kind of film, filling in details from headlines and stories that people got from the media? Insight into Strauss- Kahn’s character and personality, his relationship with his wife and family, his business success, and his personal downfall?

12. This kind of film as insightful – as sensationalist or exploitative?