New York, New York starred Robert DeNiro and
So why the ignoring of it, one of the most definitive pop cultural moments that Scorsese has ever been involved with, in a package that was supposed to be so specifically tuned to his achievements at blending cinema with music. Were the BCFA's shoes wanting to stray? As critics, they should know well and good not to base opinion of a film on what was spoken about it at time of release. Granted, New York, New York leans much closer to the feminine side of Scorsese's filmography alongside Alice Doesn't Live Here Anymore, The Age of Innocence and The Aviator, but even the most manly of men can get a bit damp in the eye and dry in the throat over Liza's song so it's exclusion can hardly be put down to "it's a bit too gay" or whatever reductive thought could come from such detours of the brain. I mean, hear and see the crowd's reaction in this live performance (I assume at the opening ceremony of the Olympics? I'm not too sure) to see what I mean.
Basically, the BFCA are awful and pander to the general consensus both in their awards and in their summation of this man's career. That I know of a few members who are smart, unique and erudite means little when the end results speak as beige as they do. I obviously think you could do far worse than watch New York, New York (must watch the extended version featuring the infamous "Happy Endings" sequence), but I know it's place as a famous flop does little to encourage, especially when a critics organisation can't even be bothered remembering it (oh, but Daniel Day-Lewis tapping his glass eye in Gangs of New York? So music oriented!!) Oh well. They can keep their Bob Dylan as long as I get Liza. Fair trade, I say.