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YOUR WEEKLY COMMUNITY NEWSPAPER SERVING CHELSEA, HUDSON YARDS & HELL’S KITCHEN

GVCCC Honors NYPD’s Finest BY LINCOLN ANDERSON Police Commissioner Bill Bratton was the keynote speaker at the 12th annual Greenwich Village – Chelsea Chamber of Commerce (GVCCC) Safe Streets Safe Cities awards on Dec. 17, honoring several NYPD officers for their heroism during the past year. Bratton, in fact, had been scheduled to speak at last year’s event, but Black Lives Matter activists got wind he would be there, and announced they would be protesting. The activists showed up in numbers, and staged Continued on page 5

Pier55 One Step Closer to Rising BY ALBERT AMATEAU The high hopes for an innovative Pier55 cleared a crucial hurdle this month, when the state Department of Environmental Conservation posted notice that the project would not have a significant effect on the environment. The Dec. 7 legal notice carried in the New York Post also said the new $130 million pier proposed for the Hudson River Park — with most of its funding coming as a gift from Barry Diller and Diane von Furstenberg — complies with the State Continued on page 4

CLOWN CAR ROUNDUP Satirist Max Burbank begins the long process of covering Election 2016, starting on page 7.

Photo by Yannic Rack

A sign over the front door and a cage erected over the basketball courts on the roof are the only visible external clues to the building’s recent history, as the Bayview Correctional Facility.

An Inside Look at Bayview, Soon to be Transformed BY YANNIC RACK Over the next few years, an imposing nine-story brick building at the corner of 11th Ave. and W. 20th St. will be transformed into the state’s first Women’s Building — a center for social activism housing a wide array of nonprofit women’s organizations. With such a noble purpose in its future, the structure’s recent past stands out even more: until three years ago, 550 W. 20th St. was the site of the Bayview Correctional Facility, a medium-security women’s prison.

© CHELSEA NOW 2015 | NYC COMMUNITY MEDIA, LLC, ALL RIGHTS RESERVED

The building held 153 inmates when it was shuttered shortly before Superstorm Sandy made landfall in October 2012. The women were evacuated and sent to other facilities upstate, but the 100,000-square-foot space, directly across from the Chelsea Piers sports complex, remained closed to save money. Once the transformation is complete — around 2020 — the Women’s Building will include a restaurant, an art gallery

Continued on page 12

VOLUME 07, ISSUE 44 | DECEMBER 31, 2015 - JANUARY 06, 2016


COMMUNITY ACTIVITIES

Courtesy Dances for a Variable Population

Hey, gang, let’s put on a show! Movement Speaks workshops at Hudson Guild will culminate with a public performance. Photo by Scott Stiffler

That’s no way to treat a tree! Through Jan. 12, your festive Christmas decoration can be dropped off at Clement Clarke Moore Park for recycling.

BY SCOTT STIFFLER

CHRISTMAS TREE RECYCLING

NOTICE OF PUBLIC HEARING and PUBLIC REVIEW AND COMMENT PERIOD regarding both a PROPOSED LEASE BETWEEN HUDSON RIVER PARK TRUST and SUPER P57 LLC and a PROPOSED AMENDMENT TO HUDSON RIVER PARK’S MULTI-­‐PURPOSE PROJECT GENERAL PROJECT PLAN

Pursuant to the Hudson River Park Act, the Hudson River Park Trust (the “Trust”) hereby gives notice of a public hearing to address (i) a proposed 97-­‐year lease (the “Lease”) between the Trust and Super P57 LLC (“Tenant”), a for-­‐profit corporation, for the redevelopment of Pier 57 generally (the “Project”) located at 15th Street in Hudson River Park (the “Park”) as a mixed use facility; and (ii) an amendment to the Hudson River Park Multi-­‐Purpose Project General Project Plan originally adopted on July 16, 1998 reflecting the proposed Pier 57 redevelopment.

Date and Time: January 20, 2016 from 6:30 pm to 8:30 pm Place: Fulton Center Auditorium 119 Ninth Avenue between 1 7th and 18th Streets

Purpose: To allow the public to review and comment on proposed significant plans and actions within the Park pursuant to the Hudson River Park Act. The Trust is providing the public with an opportunity to review and comment on a proposed Lease between the Trust and Tenant for the Pier 57 premises (the “Premises”), which Lease has a 60 year term, with one renewal option of 20 years and one renewal option of 17 years, for a maximum total term of up to 97 years.

In addition to seeking public comments on the proposed Lease, the Trust is also seeking comments on a proposed amendment to the Hudson River Park Multi-­‐Purpose Project General Project Plan adopted on July 16, 1998 to reflect the proposed plans for the redevelopment of Pier 57.

The FEIS, Technical Memorandum and the Statement of Findings are also available on this website.

In addition to the public hearing, the public will have an opportunity to provide written comments to the Trust. The public comment period extends from December 17, 2015 to February 16, 2016. Comments may be sent by regular mail to Amy Jedlicka, E sq., Hudson River Park Trust, Pier 40, 2nd Floor, 353 West Street, New York, N.Y. 10014 or by email to Pier57comments@hrpt.ny.gov. The public hearing is being held in compliance with the requirements of the Hudson River Park Act regarding significant actions.

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December 31, 2015 - January 06, 2016

From a coveted object at the sidewalk vendor stand, to a place of honor in your home, to an undignified role as curbside fodder for the garbage truck: this is the normal life cycle of an urban Christmas tree. But its contribution to society doesn’t have to end when the lights and ornaments get put back in the box for another year. This year — well, at least until Tues., Jan. 12 — The Parks Dept. is turning West Chelsea’s Clement Clarke Moore Park into a drop-off point, from which your good old Tannenbaum can begin anew — as mulch for the park. In order to be recycled, trees need to be completely clean of decorations. Bring them to W. 22nd St. and 10th Ave., where you’ll see a designated area of the pool, at the rear of the park. The West 400 Block Association, who tipped us off to this environmentally responsible initiative, also wants you to know about the city’s Zero Waste recycling programs. Check out the web version of this “Community Activities” page at www. chelseanow.com for a direct link, or take the long way home — by typing in the following: http://www1.nyc.gov/assets/ dsny/zerowaste/residents/food-scrapsand-yard-waste.shtml.

FREE DANCE WORKSHOPS FOR OLDER ADULTS Mobility, social interaction, self-expression, and the chance to catch the show business bug — that’s what you’ll walk away with, at these upcoming Movement Speaks workshops. They’re led by Naomi Goldberg Haas, whose Dances For A Variable Population organization promotes strong and creative movement. This series of weekly workshops, designed for older adults, will culminate in a public performance at which the class will be joined by students in Hudson Guild’s afterschool program. Participation is free. Attending every class is recommended, but not necessary. Workshops at the Hudson Guild Neighborhood Senior Center (119 Ninth Ave., btw. W. 17th & W. 18th Sts.) will take place every Monday, January 11 through February 29, from 1:30–3 p.m. — with the public performance at 2 p.m. on March 7. Workshops at Hudson Guild’s 441 W. 26th St. location (btw. 9th & 10th Aves.) will take place every Thursday, February 25 through March 31, from 3:30–4:30 p.m. — with the public performance at 4 p.m. on April 7. Participants should wear comfortable clothing. For more information, call 347683-2691, visit dvpnyc.org, or send an email to rebecca@dvpnyc.org. For more information about Hudson Guild, visit hudsonguild.org or call 212-924-6710.

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State Says Pier55 Enviro Impact Not Significant; Suit Remains Continued from page 1 Historic Preservation Act. The cost of the project includes $17 million from the city for infrastructure — basically, to put in 535 piles to support the new 2.76-acre pier, plus improvements to the park esplanade related to the project. The pier would essentially be its own island off of W. 13th St., accessible from shore by two footbridges. It would be built on a brand-new footprint in the river, north of the former Pier 54. But before construction can begin, the US Army Corps of Engineers must review and approve the project. In a Dec. 15 email, the Corps told our sister publication, The Villager, that the Hudson River Park Trust (aka Trust) filed the application for approval this past April, “but at this time the application is still under review.” Another remaining issue is a pending State Supreme Court lawsuit filed this past June by the City Club of New York — seeking, among

Courtesy Pier55, Inc/Heatherwick Studio

A rendering of Pier55, which would rise to seven stories tall at its highest point.

other things, to stop the Trust from proceeding until the park authority conducts a full environmental impact statement (EIS) of the entire 4.5-mile-long riverfront park as it

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relates to the new pier. The Dec. 7 legal notice of “no significant impact” was based on an environmental assessment form (EAF), a preliminary document filed with the state a year ago. A full EIS would involve a more detailed review that could take another year to complete. Assemblymember Deborah Glick is also calling for a full EIS for Pier55. In addition, she wants the Army Corps of Engineers to host a public meeting on the project. But the corps has said it is not authorized to do so. The corps could, however, order an EIS as a condition of its approval. David Paget, the Trust attorney, said last week that the City Club lawsuit was not based on facts. “You need more than rhetoric,” he said, regarding the legal action. The assessment form was support-

ed by a 300-page technical document that justified the “no impact” finding, Paget said. He also dismissed the lawsuit’s complaint that the Trust accepted the Diller/von Furstenberg gift secretly, without public bidding. Paget said bidding is not required for the Trust to accept a gift. Paget also disputed the lawsuit’s contention that the uses proposed for Pier55 violate the law. The new pier includes an amphitheater, a venue for public performance based on an admission fee. Public recreation and entertainment are permitted park uses, and fee-based events are common in the city’s parks, Paget said, citing Randall’s Island and the Delacorte Theater in Central Park. Community Board 2 (CB2) has held two public hearings on the Pier55 project. “We had certain concerns, but we were happy with the Trust’s response about establishing a public advisory group for the project,” said Tobi Bergman, CB2 chairperson. “Board members were impressed that there would be a real sharing with the public of the performance areas in the park when there were no performances,” Bergman said. “A gift like this is not coming back if it goes away. We really need public recreation and we need culture. This is a great opportunity,” he added. Adrian Benepe, senior vice president of the nonprofit Trust for Public Land and former commissioner of the city’s Parks and Recreation Department, told The Villager that he was confident that Pier55 would prevail in court. “There is a long tradition of ticketed events in public parks,” Benepe said, adding that the project “is a great way to combine public recreation and an arts venue.”

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Second ‘Safe Streets’ Honor for Officer Scott Williams Continued from page 1

Photo by Tequila Minsky

From left, Officers Geraldo Casaigne, Thomas Knudsen, Lauren O’Rourke, Ruby Chau, Police Commissioner Bill Bratton, Officers Scott Williams, Joaquin Sepulveda and Anthony Gonzalez.

When the man arrived at the Capital One bank (at W. 17th St. & Eighth Ave.), he met up with two other individuals. The trio cased the bank, then began changing their clothes to outfits matching their description from prior bank robberies, at which time the two cops arrested them without incident. Representing the 13th Precinct, covering Gramercy, Stuyvesant Town/Peter Cooper Village and part of Rosehill, Thomas Knudsen was named the Officer of the Year. This year, Knudsen made 66 arrests, including busting two individuals wanted for multiple robberies inside a public housing development. At the Midtown South Precinct, the Officers of the Year were Lauren O’Rourke and Geraldo Casaigne. On May 13, they were patrolling on Eighth Ave. when they observed a suspect wanted for several assaults with a hammer within the precinct. They followed

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him to the corner of W. 37th St., where O’Rourke instructed him to remove his right hand from his pocket. The suspect immediately whipped out the hammer and chased her into the intersection, striking her with the weapon on her

upper back and shoulder area. Seeing his partner in danger, Casaigne reacted in a split second, shooting the man four times at close range, striking him twice.

Continued on page 15

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a die-in on the sidewalk in front of the venue, Manhattan Penthouse (W. 14th St. & Fifth Ave.), but Bratton was a no-show. Making good on his word to address the chamber, Bratton headlined last week’s awards event, speaking, in particular, about what the police are doing to help address the city’s current homelessness crisis. The top cop said that while there are around 50,000 homeless people in the city, the number actually living on the streets is around 5,000. He announced that all the city’s police officers will be getting four hours of training on how to deal with the street homeless, and will be instructed on the nuances of the law pertaining to them. To give one example, Bratton said, a person legally can lie on the sidewalk, but if he or she has a box, it can be considered an illegal abode. In the Officer of the Year awards, from Chelsea’s 10th Precinct, Scott Williams received the prestigious honor for the second year in a row. A member of the precinct’s anti-crime unit since 2009, Williams made one of his most notable arrests this past September. Williams, along with Special Operations Lieutenant Peter Benekos, was working on a borough-wide crime pattern involving a three-man team that had pulled 21 bank robberies over a five-week period. Williams and Benekos observed an individual, who matched one of the suspect’s descriptions from a wanted poster, peering inside the People’s United Bank (at W. 18th St. & Seventh Ave.). They followed the suspect for several blocks, watching him as he looked into the windows of several different banks.

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Stump Speech: Election 2016

Jeb Bush/Facebook

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donaldjtrump.com

Overstuffed Clown Car Careens Toward Iowa THE REPUBLICANS JEB BUSH

Jeb has really defied my expectations. I never, in my wildest dreams, imagined I could feel compassion for any member of his family. The strain and misery on his face as he is forced to actually campaign against barely human buffoons, whose daily behavior mocks the very political system they claim to want to lead, is truly moving. I haven’t seen a candidate endure this very specific brand of raw humiliation since Kerry lost to Jeb’s brother. Or Gore lost to Jeb’s brother. Or Dukakis lost to Jeb’s father. Huh. Now that I think of it, I guess I don’t feel that much compassion for him after all.

BEN CARSON BY MAX BURBANK Hello, readers. I’m Max Burbank, and for the next 11 months, I’ll be chiming in every now and again to help guide you through the funniest thing we as a nation do: elect a president. How am I qualified to do this? That’s a good question. The answer is, I’m not. Not in the least. I’m not a professional pundit. I never took a single political science course. In fact, just like the most popular people running, my total lack of any qualifications whatsoever is exactly what makes me so qualified. After all, punditry ain’t brain surgery, or, you know, being president. So let’s kick the coverage off with a review of 17 candidates for the office of President of the United States of America — assuming they’re all still running by the time this sees print. I sure hope so. I already missed my chance to make fun of Bobby Jindal. .com

Cleary uncomfortable with eye contact, he mumbles and whispers, laughs inappropriately and often without any context, and not only thinks the pyramids were used to store grain, but seems to be totally unaware that telling this to people makes him look crazy. This is not a candidate — this is a list of symptoms. The only reason people have not realized Carson is diagnosably, clinically insane is that his condition cannot be heard over the much higher volume of Trump’s diagnosable, clinical insanity.

CHRIS CHRISTIE I cannot and will not vote for a man who has the same name twice. It’s ostentatious. It would be like voting for Kris Kristofferson or Duran Duran, two things I would do before I ever voted for Chris Christie, even though Duran Duran is more than one person and none of them are what you’d call

“American.” Also, the only reason people don’t notice he’s a shameful, stereotypical bully is because he cannot be seen in the shadow of Trump’s much larger, stereotypical bullying. See? You can mock Chris Christie without ever mentioning that he is “plus-sized,” with which there is nothing wrong.

TED CRUZ He cooked bacon on the barrel of a machine gun, and then ate it. It’s on video. Not cell phone video that someone else took, surreptitiously capturing this bizarre, awful, unsanitary behavior. He intentionally made this video and released it to the public. He actively wants you to witness his sub-human behavior. This is something a very bad dog would do if you left it unsupervised with fi lthy bacon. And a machine gun. And a video camera. Bad dogs and Ted Cruz should not be left unsupervised with any of those things! On the plus side, Cruz is diagnosably, clinically insane.

CARLY FIORINA There’s a lot of historical precedence for single-issue candidates, but Fiorina is breaking new ground: as a single-lie candidate. A single-lie can be very good at garnering attention, and locking down the votes of a core constituency. But to compete nationally, she’ll need to have a wider range of value-based lies, not to mention economic and foreign policy lies. A serious candidate needs to be able to lie fluently across the political spectrum. Also, the only people with faces that immobile are folks wearing Michael Myers masks — and the diagnosably, clinically insane.

JIM GILMORE Wait, wait, I know this one, he’s that guy who…he was the…Jesus, his picture looks so familiar — he’s this white older guy who…I’m sorry, I don’t know who Jim Gilmore is.

LINDSEY GRAHAM A United Sates Senator from South Carolina since 2003, while a staunch conservative, he is also a realist willing to work with Democrats on issues such as Global warming, tax, and immigration reform. So why exactly are we talking about him? Wait, what? He dropped out? Well, that was a waste of 45 words — unless I’m getting paid by the word. I hope I’m getting paid by the word. ’Cause that’s 72 now.

MIKE HUCKABEE Oh, I remember this guy. He totally used to be relevant at some point. He, like, ran for President in 2008 and did really badly. So naturally, Fox News gave him his own talk show — which is an awesome resume credit if you’re running for gigantic, smarmy, human sack of crap, and not president.

JOHN KASICH The closest thing in this race to a centrist Republican, which makes him the closest thing in this race to invisible.

GEORGE PATAKI Pataki isn’t running anymore? Really? And Jim Gilmore still is?

RAND PAUL Want a president with a medicadegree, but still smarting over having

Continued on page 17

December 31, 2015 - January 06, 2016

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LETTERS TO THE EDITOR THE WEST SIDE’S COMMUNITY NEWSPAPER

PUBLISHER

Jennifer Goodstein

EDITOR Scott Stiffler

EDITORIAL ASSISTANT Sean Egan

ART DIRECTOR Michael Shirey

GRAPHIC DESIGNERS Rhiannon Hsu Chris Ortiz

CONTRIBUTORS

Lincoln Anderson Lindsay Bu Stephanie Buhmann Jackson Chen Sean Egan Dusica Sue Malesevic Winnie McCroy Puma Perl Yannic Rack Paul Schindler Trav S.D. Eileen Stukane

Merchants zombified To The Editor: New York City’s small businesses are “dead men walking.” Unfortunately, they are doomed to die when their lease term ends and they are faced with double and triple rent increases. After 10, 20 and 30 years of operating a successful business, our small merchants face sudden death when they get hit with exorbitant rent increases. The American Dream of owning a business has turned into an American nightmare in New York City. The City Council can solve this problem. They have before them the Small Business Jobs Survival Bill, which addresses this crisis and offers small businesses a lifeline. The question is: Will this bill make it out of committee to the Council floor for a vote, or will it too die in committee, as all similar bills have over the past 25 years? What is the Council waiting for now in order to vote on this bill? Is the real estate industry again calling the shots? While hundreds of businesses face eviction every month, the City Council band plays on.

misplaced and emotional PETA-like mindsets ignore. Ms. Forel makes the geographically-dyslexic assertion that the “hack line, which is on 59th St., [is] inside Central Park.” Perhaps Ms. Forel is from out-of-town, but even little children know instinctively that the stone wall surrounding Central Park defines its limits, and 59th St. (and the carriages) is well outside those limits. Evidently, Ms. Wilder has never taken care of a horse (as I did when I was much younger). She doesn’t seem to realize that it is natural and normal for there to be lots of horse manure inside a stable, as a flushing toilet suitable for a horse has yet to be invented. She doesn’t understand that pigeons and horses enjoy a symbiotic relationship that allows the horse to eat (somewhat messily), and the pigeon to do the cleanup work and enjoy his dinner at the same time. The presence of the pigeons is almost as calming for the horse as would having a goat as a stall-mate (as is often done with race horses). As demonstrated by Forel and Wilder, the opposition to horse-and-carriages in New York is very economical with reality. Andrew Alpern

Alfred Placeres Placeres is president, New York State Federation of Hispanic Chambers of Commerce

Carriage horse opponents ignore reality To The Editor: Re “Letters” (Dec. 24, 2015): The letters of Elizabeth Forel and Jen Wilder in opposition to New York’s iconic horse-and-carriages reveal what their

E-mail letters, not longer than 250 words in length, to Scott@ChelseaNow.com or fax to 212-229-2790 or mail to Chelsea Now, Letters to the Editor, NYC Community Media, One Metrotech North, 10th Floor, Brooklyn, NY 11201. Please include phone number for confirmation purposes. Chelsea Now reserves the right to edit letters for space, grammar, clarity and libel. Chelsea Now does not publish anonymous letters.

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Reader Feedback From Facebook Re “Borough President Brewer: Tenants Must Organize” (news, Dec. 24, 2015): What a joy it is to hear our BP (who always seems to be on the job) speaking

out loud and clear on housing issues. It’s also nice to see an elected official coming through for their constituents after being elected! Hooray for Gail!!!

pulls no punches. There are not too many like her. Also, bravo to Gloria Sukenick, who has been on the job as an advocate for decades. Each of them helps make New York the great city that it is.�

Gloria Sukenick I agree. Gale is a terrific public servant — hard-working, smart and fair — and

Marc Greenberg Executive Director at Interfaith Assembly on Homelessness and Housing

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December 31, 2015 - January 06, 2016

STUMP SPEECH! with MAX BURBANK

Our self-taught political pundit debuts his coverage of Election 2016, with a top-to-bottom rundown of the crowded field of presidential candidates. Are you difficult to offend? Turn to page 7! .com


Rhymes With Crazy

Don’t Worry About Hell (?)

BY LENORE SKENAZY In a statement just released in honor of the 50th anniversary of the “Nostra Aetate” — itself a high point in Jewish-Christian relations, in that it stated Jews should not be considered “accursed by God” (yay!) — the Vatican has gone one step further. The new document states that, “…it does not in any way follow that the Jews are excluded from God’s salvation because they do not believe in Jesus Christ as the Messiah of Israel and the Son of God.” In other words, Jews are now Heaven-eligible — which has me very worried. (How Jewish is that?) You see, until now, I was already a little obsessed by what qualifies a person for a post-life thumbs up or down. And by “a little obsessed” I mean, I worried that if I ate a piece of bacon, did that make me a bad Jew, which then might damn me to

Hell, even though we don’t really have Hell, so maybe even framing the question that way was a sin, meaning I was headed to some sort of miserable afterlife that supposedly doesn’t exist, with or without a devil, pitchfork, and lake that burns without giving off any light, etc.? See? So Jewish. And then, when I did something actually unkind — and by “unkind” I mean screaming at a cabbie who totally deserved it, because he made a right-hand turn while I was in the crosswalk, but still, those guys have a hard life and are barely surviving, thanks to Uber — I’d worry, “Well, was that one little blow-up the thing that’s actually going to tip the scales? I’ll be standing before St. Peter, and he looks at a list of everything I did, and it’s, ‘Why did you yell at the poor cabbie? They’re barely surviving, thanks to Uber.’ And he shakes his head like, ‘Sorry, you blew it,’ and then he pushes the little button that opens a trap door in the floor?” All this while I’m still in the crosswalk, shaking my fist. “Don’t worry about Hell!” my husband has told me, over and over. (Am I dishonoring him by writing this?) “We don’t believe in it!” But now…sheesh. All bets are off. I mean on! That whole Pascal’s wager thing is now in our court: Bet that there is a God, and, if we’re right, infinite rewards await us — if we can just keep it in our pants (metaphorically speaking). But bet that there is no God (or Heaven),

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go rip-roaring wild, and we could be in for a world of pain (and jackals gnawing our intestines) later. That was a wager we Jews didn’t have to worry about. Until now! So how good do we have to be to go upstairs? What is the fine print? Is one, “G------it!” all it takes to rip up our VIP pass? Or do I have to be Bernie Madoff before I worry? Or, to put it a bit more proactively: How can I prove my Heaven-worthiness? Jews were already told to live righteously, give generously, dress warmly. (Well, most of us were.) We already knew we’re not supposed to murder, steal, or commit adultery. The real trip wire on that list is, “Thou shalt not covet.” But even if we did covet (come on — who doesn’t? Have you even seen my sister’s house?), it wasn’t like we were immediately disqualified from anything great. Coveting a fantastic

house, or less jiggly thighs, or a job that pays more than freelance journalism, did not mean kissing goodbye to eternal life and harps that, because they are in heaven, must not sound as horrible as I imagine 10 billion amateur harpists must sound. We Jews just knew we were supposed to try to not covet so much. No wonder the goyim drink. (I’m kidding! I’m kidding! St. Peter — it was just one dumb, slightly un-PC joke. Come on!) Now I’m a Jew faced with all the worries of a Christian, without even Christmas to ease the pain. Because a Jew having celebrated Christmas last week — I’d hate to think where they’d end up! But I probably will. Lenore Skenazy is a keynote speaker who authored the book, and founded the blog, Free-Range Kids (freerangekids.com).

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POLICE BLOTTER PETIT LARCENY: Batteries not included

GRAND LARCENY: No mere Minnie-dismeanor

Shortly after midnight on Mon., Dec. 21, an unidentified individual asked an employee of the 241 Eighth Ave. CVS (btw. W. 22nd & W. 23rd Sts.) where he could find batteries. After the employee directed him to the appropriate area, they witnessed him place what the police report described as “an unknown amount of batteries” in his pocket, and leave the store. Though there was camera surveillance, the employee wasn’t able to provide a description of the perp — but perhaps Chelsea residents should be on the lookout for an energetic looking pink rabbit with a penchant for playing the drums.

These thieves must have looked a little out of place running northbound on 10th Ave. holding a bag emblazoned with likeness of Minnie Mouse, at 1:15 a.m. on Fri., Dec. 25. That $100 purse, along with its contents (including an iPhone 5s and various credit cards), are what they snatched from a 35-year-old Bronx woman across from 450 W. 33rd St., who was coming home from a club. She says the men may have followed her and her two friends from the Marquee Nightclub (289 10th Ave., btw. W. 26th & 27th Sts.), and was able to describe them to police — who canvassed the area, with negative results.

PETIT LARCENY: Gym crim jacks Jordans Much like the child protagonist of that inescapable, maudlin “Christmas Shoes” song, a young patron of the Chelsea Rec Center (430 W. 25th St., btw. Ninth & 10th Aves.) spent Christmas Eve searching for a particular set of fancy footwear. When the 16-year-old victim returned to his locker at about 2 p.m. on Thurs., Dec. 24, he discovered that its lock had been cut off, and his property removed — including $16 in cash, a $300 iPhone 6, and a $250 pair of black and red Jordan Playoff 8’s.

GRAND LARCENY: Locker lifter likes Apple accessories In a perhaps coincidental turn of events, there was another unfortunate gym-locker break-in on Christmas Eve — but this time, however, the culprit had his eye on a bigger prize than some fresh kicks. Upon returning to his locker at Equinox (100 10th Ave. at W. 17th St.) at about 5:10 p.m., a 35-year-old man discovered the padlock to his locker was cut off, and his stuff missing. Amongst the lost items were a $60 Jack Spade Wallet, a $60 Coach Clip, a monthly MetroCard, and various forms of ID and bank cards — amongst which was an American Express card, which in short order was used for a $4,274 shopping spree at an Apple store.

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DWI: Birthday bash A (newly) 32-year-old West Haverstraw, NY resident might not have wanted to cry, but that’s probably what happened after his party came to an abrupt end in the Lincoln Tunnel (btw. W. 39th & 40th Sts.). At about 2:25 a.m. on Sun., Dec. 27, the man, who was driving from a belated birthday celebration, entered the north tube of the tunnel and promptly crashed his vehicle into the concrete barrier just inside the far lane. After being transported to Bellevue Hospital, the suddenly perceptive man noted, “I know I’m going to jail,” and admitted that he had consumed four drinks and smoked weed — at which point the NYPD, with his consent, drew a blood sample.

ASSAULT: Meatball Shop mayhem A 24-year-old employee had barely passed the threshold of the doorway of a Meatball Shop location (200 Ninth Ave., btw. W. 22nd & W. 23rd Sts.) just before midnight on Sat., Dec. 26, when he slashed the 48-yearold manager with a razor knife, causing lacerations and bleeding from the face and chest. The assailant was arrested, and found to have another, extra knife on his person.

—SEAN EGAN

December 31, 2015 - January 06, 2016

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Photos by Yannic Rack

The fenced-in roof provides views over Midtown to the east and the Hudson River to the west.

In one of these fifth-floor solitary confinement cells, a message remains scrawled on the wall (see page 14).

Traces of the Past Linger at the Future Home of Ch Continued from page 1 and some community space, possibly including a wellness center. “We are envisioning a sort of vertical neighborhood where women leaders can connect with each other in very powerful ways,” Pamela Shifman, the executive director of the non-profit NoVo Foundation, said at a recent community meeting aimed at gathering ideas for the center’s use. The foundation is partnering with

Goren Group, a woman-owned and operated real estate development company, to transform the building, and a design competition was recently launched to find an architect for the project. In addition to a first-floor gym and a fenced-in basketball court on the roof, cellblocks throughout the building remain (although many of them are gutted). In the room that once served as the library, ceiling paint has been slowly peeling off for years. Now that plans for the building

are underway, concerns have flared up once again in the community, where some vocal advocates have long pushed for landmark status for the building. Only a prison since the late 1960s, it was originally built as a waterfront YMCA, serving the sailors and merchant marine crews working on the Chelsea waterfront with facilities such as a small chapel and a mosaic-stained pool — features that still exist today, although the pool has been covered over to serve as a storage space, and the chapel likely hasn’t seen much

The building’s gym. There is also a basketball court on the roof, which was split into a passive and an active recreation area.

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December 31, 2015 - January 06, 2016

prayer in recent years. “We’re happy not to see it become another anonymous luxury condominium that amounts to a fourth home for a billionaire who’s never even going to be present,” David Holowka, a member of Community Board 4’s Land Use Committee and an ardent admirer of the building’s nautical-style architecture, told Chelsea Now. The Seamen’s YMCA was built in 1931 by Shreve, Lamb & Harmon, the architectural firm whose most famous creation, the Empire State Building,

A mosaic-lined swimming pool was still used b Pamela Shifman, the executive director of th

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The first-floor chapel dates back to when the building was a Seamen’s YMCA, apparent in the nautical mural behind the altar.

helsea’s Women’s Building was finished that same year. “The governor [in his announcement of the project] refers to it as an institution of defeat, with no reference whatsoever to the importance of the building to the neighborhood’s history — the working waterfront it represents and the history it embodies, which is pretty much written all over its façade,” Holowka said. Inside, the chapel’s nautical wall mural and the pool’s aquatic mosaics remind one of the building’s earlier incarnation. On the outside, the

structure’s legacy is more subtle. The brick façade sports Art Deco massing, embellished terra cotta plaques and light fixtures that continue the seafaring theme. The NoVo foundation says it is committed to preserving the building’s unique features, and will work with the state’s Historic Preservation Office on the redevelopment. “We’re required to maintain some historical aspects,” Shifman told

Continued on page 14

by the prison, but eventually covered with plywood and converted to a storage space. he NoVo Foundation, recently confirmed that the pool would be preserved.

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A stained-glass window in the chapel. The plaque underneath it reads: “Faith and adventure (St. John 1:40). In tribute to the merchant seamen of all nations. Gift of Mrs. H. Prescott Beach and family.”

Sculpted-in lighting fixtures adorn the brick exterior, along with embellished terra cotta plaques that reaffirm the building’s seafaring theme.

December 31, 2015 - January 06, 2016

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“When I die, will anyone cry?” reads an evocative message scrawled on a cell wall. Photos by Yannic Rack

Seen from the roof, the ongoing construction of 10 Hudson Yards, the first tower of the eponymous new neighborhood rising ten blocks to the north.

Place of Confinement to Become a Vehicle for Liberation Continued from page 13

A sign near the gym reminds inmates to leave their money and valuables at LeslieLohman_MOD_12-2015.pdf 1 12/8/2015 12:28:02 PM the front desk before changing.

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December 31, 2015 - January 06, 2016

attendees of this month’s community conversation session in Lower Manhattan. But back in November, she said the prison’s legacy was just as important to remember. “We do know that we want to preserve key parts of the building to serve as a permanent reminder of what happened to women behind the walls of Bayview, and to educate everyone about what continues to happen to women in our criminal justice system,” she told Chelsea Now.

Bayview, in the early 1980s, became briefly notorious for being the site of widespread sexual abuse involving inmates and staff. In response, the corrections department disciplined offending staff and the prison’s entire executive team was replaced. In one cell used for solitary confinement, one prisoner’s haunting handwriting is still legible. “When I die, will anyone cry?” it reads. “We felt that it was an opportunity to turn a place that was about pain and confinement into a place that is about justice and liberation and freedom,” Shifman said.

One of the few remaining signs of life inside the building is a shelf on the top floor, where clothes were stored. .com


Bratton Keynotes Chamber’s Safe Streets Awards Continued from page 5 The assailant was declared dead at Bellevue Hospital. Anthony Gonzalez was the Officer of the Year winner from Greenwich Village’s Sixth Precinct. Officer Gonzalez was recognized for two arrests. On Jan. 18, he quickly responded to a radio run regarding a purse snatching. He placed the victim in his car, and, with her, canvassed the area for the two suspects — who he found and arrested. In the second arrest, on Sept. 6, Gonzalez was on foot patrol in the Meatpacking District, when he was informed by a worker at the Jane hotel that three males were smoking marijuana in a car around the corner. The officer responded and noticed a spent bullet shell casing in the car. Examining the vehicle more closely, he spotted a 9mm firearm on the back seat. The three males were quickly arrested, preventing a possible serious crime from occurring. There were two honorees from the East Village’s Ninth Precinct. Officer

Photo by Tequila Minsky

Councilmember Corey Johnson, left, and Police Commissioner Bill Bratton.

Ruby Chau has made 27 arrests so far this year. One of these involved the recovery of a 9mm handgun from inside a vehicle on Avenue C, where a violent felon was arrested in an area where shootings had been spiking in the pre-

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Department veteran previously worked in the Narcotics Division in the Bronx, and has been assigned to the precinct the past three years. Over his career, he has taken a number of violent individuals off the streets — including seven who were armed with guns at the time of their arrest. Sepulveda is currently assigned to the precinct’s late-tour anticrime team. Mathew Heggem and Maria Diaz, the GVCCC board president and executive director, respectively, in a message from the chamber, said, “Now well into our 66th year, the chamber understands the impact that a thriving business community can have on its local economy. But this community cannot succeed without individuals who selflessly protect our storefronts, keep our employees safe to and from the office, and provide a peaceful neighborhood to call home after a long day’s hard work. The Safe Streets Safe City awards is our chance, on behalf of the local business community, to extend our sincerest gratitude to law enforcement. We were especially honored to have New York City Police Commissioner as this year’s guest speaker.”

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Clinical Insanity Floods Field of Presidential Candidates Continued from page 7 a minority in the oval office? Paul’s your man. A fan of weird hair, but put off by terrifyingly weird hair, and not a fan of the color orange? Vote Paul. In addition, while attending Baylor University, he ran their chapter of Young Conservatives of Texas — offering discerning voters empirical evidence that he is almost certainly an insufferable dick.

MARCO RUBIO The smart money says that after all the crazy-ass candidates eat each other alive, Rubio will emerge as the “Oh, well, I guess we can live with you” Mitt Romney of 2016 — a strategy that went super well for the Republicans last time around. Speaking of money, though, that’s the wild card in this deck. Despite an $800,000 book advance, Rubio recently liquidated a $68,000 retirement account at a huge tax loss, and sold a house in Florida for $18,000 less than he paid for it a decade ago.

There are lots of reasons a person might need liquid cash in a hurry, and I’m absolutely not saying voters should engage in shameful, unfounded speculation about gambling, drug addiction, sexual hush money, and any other alleged skeletons that might allegedly be hanging in the Rubio closet. You’d have to be a real skeezeball to do that, and I can think of 11 Republican candidates who are going to do it for you anyway.

RICK SANTORUM While totally irrelevant in any real, political way these days, you can still Google his last name plus “Urban Dictionary” for a quick, cheap laugh.

DONALD TRUMP There’s so much to say about him — but it’s already been said, and is being said everywhere all the time, so I’ll leave it at this: I have a fat, orange, long-haired tomcat that likes nothing better than to climb up on my chest in the middle of the night, drape the flyaway mass of unruly DayGlo fur that is his tail over my forehead, and

press his ass directly against my face. I have not “put him to sleep” because I love him. I cannot say the same for Donald Trump.

THE DEMOCRATS HILLARY CLINTON

Don’t get me wrong, I like her politics — but this is America. You’ll see a socialist Jew, a diagnosably, clinically insane person, or a friggin’ tree stump in the White House before we elect a woman President of the United States.

Hillary Clinton/Facebook

MARTIN O’MALLEY Martin O’ who now?

BERNIE SANDERS Don’t get me wrong, I like his politics, but this is America. You’ll see a woman, a diagnosably, clinically insane person, or a friggin’ tree stump in the White House before we elect a socialist Jew President of the United States.

CONCLUSION Friggin’ Tree Stump 2016.

Bernie Sanders/Tumblr

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Warner Bros.

Lionsgate

There was no more explosive movie (literally) in 2015 than George Miller’s “Mad Max: Fury Road.”

Emily Blunt, in a shot emblematic of the arid, threatening landscape of “Sicario.”

ARTS&ENTERTAINMENT

Warner Bros.

Michael B. Jordan and Sylvester Stallone helped to make “Creed” a knockout for the “Rocky” franchise.

IFC Films

“The Duke of Burgundy” is a tale of kink and romance like no other.

Best in Screen, 2015

Our omnivorous critic harvests a subjective crop BY SEAN EGAN It’s that time again — when every publication, TV show, website and blog that covers the arts trots out their monolithic lists of the year’s most excellent offerings. But doing this, even if just attempting to articulate your own personal opinion, is a pretty tricky business. It’s not easy trying to compare the relative merits of, say, a movie shot for 100K on an iPhone, and the latest $200 million installment of “Star Wars.” I mean, that’s like comparing apples and the world’s most successful film franchise of all time.

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Seeing as even the notion of basing lists around the confines of the calendar year is arbitrary, it might be nice to take the focus off of ordering and numbering, and instead take films on their own accord — by assigning them other, equally arbitrary categories in which they can shine. All of these movies are, I believe, pretty great, and are worth the effort to seek out and watch. Because if there’s one thing that film in 2015 has taught us, it’s that the more cinematically omnivorous you are, and the less concerned you are with consuming only “the best,” the greater chance you’ll

December 31, 2015 - January 06, 2016

have to find something you love — especially in unexpected places.

MOST KICKASS MOVIE OF THE YEAR: “Mad Max: Fury Road” Is there any way to describe George Miller’s belated fourth installment of his signature post-apocalyptic action franchise other than “kickass?” Well, you could also say the nearly non-stop, two-hour car chase is “action-packed,” “gorgeously shot,” “delightfully analog,” “surprisingly intelligent,” or “tons of fun.” Or, perhaps you could simply call

it “the best movie of the year” — but even that seems a little bit reductive.

MOST WHITE KNUCKLE INTENSITY: “It Follows” With his astoundingly assured debut feature, David Robert Mitchell has created a near-perfect horror movie — and one of the year’s very best films, regardless of genre. Taking place in an out-oftime suburb, the shape-shifting titular “It” begins its titular following after the individual it’s plaguing passes it along to another via sex. Fluid camerawork, realistically-sketched characters, and a brilliant premise set this chilling meditation about growing up and mortality apart — as does its ability to prod at big existential questions more effectively than most prestige pictures, while also

Continued on page 19 .com


Reboots, Indies, Auteurs Top 2015 Films Continued from page 18 remembering to steadily mount dread and thoroughly creep its audience out.

“Sicario” Smart and harrowing, Denis Villeneuve’s mid-budget adult thriller is the kind that doesn’t get made much anymore. It doesn’t skimp on the tension or action, even while exploring headier ideas. Led by dynamic performances from Emily Blunt, Josh Brolin and Benicio Del Toro, and guided along by Roger Deakins’ expressive cinematography, it’s ostensibly about taking down a Mexican drug cartel — but is most resonant when examining dynamics of race and gender, and the personal toll this high-pressure environment takes on a person.

AMERICAN AUTEURS: “Bridge of Spies” To paraphrase the movie’s co-scribes, the Coen Brothers: “Tom Hanks. Cold War picture. Whaddya need, a road map?” And with Steven Spielberg in the director’s chair, the project does seem like a no-brainer the creative team could complete on autopilot. Fortunately, working from a true-story script that’s at turns tense and unexpectedly hilarious (and enhanced by a virtuoso performance from Mark Rylance as a mild-mannered Russian spy), Spielberg turns in his most handsomely realized, exciting and vital film in recent memory.

“The Hateful Eight” In, appropriately enough, his eighth feature, Quentin Tarantino has pro-

Magnolia Pictures

The iPhone-shot “Tangerine” looks like a vibrant Instagram profile come to life.

duced what is certainly his nastiest, most difficult, most visually beautiful film to date. It’s a strange amalgamation of past work (the confined location of “Reservoir Dogs,” the western landscapes of “Django Unchained,” the talky revenge tale of, um, everything else), which uses its expanded running time, gorgeous 70mm cinematography, and a fantastic Samuel L. Jackson-led ensemble to tell a relatively simple, highly theatrical mystery. The twist here is that Tarantino plays everything far more straight than usual. Sure, there’s some gallows humor, but when his signature viscera starts flying, it’s more

brutal than ever before. There’s a method behind this film’s cruelty and lack of moral center, though — it dares you to take a long, hard look at the human soul, which is unable to hide all its ugliness when magnified by the unflinching eye of Cinerama.

BEST OBLIGATORY HOLLYWOOD REBOOT: “Creed” This might be the “Rocky” spinoff no one really asked for — but writer/director Ryan Coogler (of 2013’s acclaimed “Fruitvale Station”) justifies its existence by producing the series’ best movie since the 1976 original. Sylvester Stallone revisits his signature role with humor and pathos. Further aided by an intense, layered performance from Michael B. Jordan, Coogler digs deep into the characters’ psyches, and creates the most viscerally exciting fights of the franchise — knowing when to employ both lingering long takes and blistering montage to thrilling effect.

UNCOMPROMISING INDIES (MALE-LED EDITION): “Buzzard”

Warner Bros.

The spies of “The Man From U.N.C.L.E.” — Guy Ritchie’s fizzy, ’60s throwback. .com

There’s three things you gotta know about this movie: It’s punk rock as hell, its protagonist is a low-level con artist with a functioning Freddy Krueger claw/Nintendo Power Glove hybrid, and it’s got a nearly five-minute long

scene of him eating a plate of spaghetti. If any of these factoids pique your interest, you’re definitely the target audience for Joe Potrykas’ greasy, desperate, pitch-black comedy.

“Entertainment” I’ve described this film before as “bleak” and an “overwhelming sensory experience,” and I mean that as nothing but the highest praise. Rick Alverson’s depressing, tragi-comic character study of an aging, down-on-his-luck comedian (Gregg Turkington) knocked the wind out of me in the best possible way. Certain sequences and images from “Entertainment” have burrowed their way deep into my mind, and have been marinating in a way that few movies are capable of doing. You may not “get it,” but there’s a good chance the movie will get you, and refuse to let go.

UNCOMPROMISING INDIES (FEMALE-FRONTED EDITION)” “Queen of Earth” Shot on endearingly grainy 16mm film, and providing a fantastic showcase for Elisabeth Moss, “Queen of Earth” is a tale of precarious sanity and longterm friendship, which plays out as a ’70s psychological thriller by way of indie dramedy. Possessing an impressively strong grip on his characters,

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Arbitrary Categories, Essential Films employ more formal mastery than the genre’s limitations usually permit, and lets him indulge in a fair amount of goofy humor and emotionally involving character work.

BEST BLOCKBUSTERS (UNFAIRLY OVERLOOKED EDITION): “The Man From U.N.C.L.E.”

Warner Bros.

The Wachowskis’ maligned space opera “Jupiter Ascending” features eye-popping visuals and production design.

Continued from page 19 writer/director Alex Ross Perry strikes a delicate balance between his signature acerbic humor and intense psychodrama, bringing out the best in both.

“Duke of Burgundy” Equal parts Lynch, Brakhage, romantic-drama and ’70s softcore, “Duke of Burgundy” creates an intimately realized and emotionally affecting romance by examining what two women in love will do for each other to make their relationship work. That it does this by aiming directly for taboo subjects — namely extreme sexual kinks — and presenting them with a measured, art-house eye makes for an indelible, daring, one-ofa-kind film.

BEST BLOCKBUSTERS: “Ant-Man” While “Avengers: Age of Ultron” struggled under the weight of its narrative obligations and larger-than-life

characters, Marvel fared far better with its other summer release, the comparatively low-key “Ant-Man.” Featuring a looser, comedic vibe, inventive action sequences and a more downto-earth story, the film is a distinctive and refreshingly offbeat installment of Marvel’s increasingly large cinematic universe.

“Star Wars Episode VII: The Force Awakens” I mean, what can I say? Nitpicking aside, it’s “Star Wars” — and they pretty much did it exactly right.

NEW CHRISTMAS CLASSICS: “Krampus” Hailing from writer/director Mike Dougherty, “Krampus” does for Christmas what his last feature, “Trick ’r Treat,” did for Halloween — providing genre cinema junkies with an instant holiday horror classic. It’s got a wicked sense of humor (bolstered by comedic ringers like David Koechner and Adam Scott), gorgeous grotesque-

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December 31, 2015 - January 06, 2016

ries (rendered lovingly, and, for the most part, practically), and enough yuletide heart to make the gore go down easy.

“Tangerine” While not exactly a Christmas movie per se, all the action of this iPhone-shot indie takes place on Christmas Eve — qualifying it for inclusion in this totally arbitrary category. But that label is as good as any for this thoroughly singular, confrontational comedy about two trans sex-workers navigating the streets of Hollywood. The unique cinematography, which looks like a widescreen, ultra-saturated Instagram page brought to life, serves to complement the film’s palpable attitude and wit.

BEST DEFENSE OF FOUND FOOTAGE HORROR: “Unfriended” This nasty little flick twists the much-maligned “found footage” script by having the action play out entirely on a laptop screen. It’s an idea elegant in its simplicity and legitimately unsettling in practice, which accurately (and uncannily) reflects how people use technology and social media — managing to probe at our Internet obsession, and how it can affect our interpersonal relationships and moral fiber.

“The Visit” Laugh if you want, but with his low-budget found footage chiller, perennial punching bag M. Night Shyamalan has made an honest-to-god (very creepy) creative comeback. Framing his tale of an ill-fated familial visit as the product of a precocious teenage documentary-filmmaker allows him to

Featuring a splashy ’60s setting and an eye-popping primary color palette, “The Man From U.N.C.L.E.” is big-budget blockbuster fun of the highest order, which has kinetic action, incredible style (and some playful homoerotic tension) to spare.

“Crimson Peak” Even for a visual visionary, the world of “Crimson Peak” stands as one of Guillermo del Toro’s most stunningly realized milieus. Combining the gorgeous production design with eerie effects and twisted, heightened melodrama makes for a campy, creepy, soapy delight.

“Jupiter Ascending” Though their nutso space-opera was roundly dismissed upon release, writer/ directors Andy and Lana Wachowski’s humanism, style and sense of humor — as well as their knack for mashing up classic tropes with their own inventive ideas and thematic preoccupations — always keep things interesting and unpredictable. Yes, it’s a bit of a lumbering mess, but it’s a beautiful one, and, more importantly, an original and ambitious one — an increasingly rare thing to be valued.

BEST WORST MOVIE: “The Cobbler” Yeah, it’s cliché to call out Adam Sandler for making bad movies at this point — but hear me out. “The Cobbler” is a special brand of awful — a misguided, quasi-magic-realism flick that defies succinct description, and reaches new, operatic heights of bats**t insanity with its every questionable plot twist. For those who love to riff with friends, consider this a bow-topped gift streaming on Netflix. And for those who insist on things like “technical competence” and “quality” in their films, I’d recommend “The Cobbler” co-writer/director Tom McCarthy’s other 2015 release, “Spotlight” — an engrossing retelling of the Boston Globe’s investigation of the Catholic Church sexual abuse scandal. .com


For Your Reconsideration: Orson Welles

‘Midnight’ culminates a lifelong infatuation with Shakespeare BY TRAV S.D. Get used to hearing a lot more about Orson Welles over the coming months. The hoary old narrative on America’s greatest director is being rewritten; the old canard that says Welles’ best days were behind him after “Citizen Kane” (1941) is being laid to rest. Sometime next year the director’s unfinished late work “The Other Side of the Wind,” which was shot during the 1970s, is scheduled for release in the wake of a much-publicized crowdfunding campaign. And a reconstructed version of his 1969 “The Merchant of Venice” premiered at the Venice International Film Festival earlier this year. And then there is the widespread reappraisal of his recently restored 1965 masterpiece “Chimes at Midnight,” which will be screening at Film Forum, Jan. 1–12. Welles had many films in the works during his last decade, but “Chimes at Midnight” is the last one he completed, not counting the 1973 experimental documentary essay “F for Fake.” He thought of it as his most artistically successful film, and it was, in many ways, the culmination of his lifelong infatuation with Shakespeare. According to legend, Welles’ first exposure to the Bard came at age two, when his mother read him unabridged versions of the plays. As a teenager, he edited a three-volume series of books called “Everybody’s Shakespeare.” In 1934, he played Tybalt in Katharine Cornell’s production of “Romeo and Juliet” on Broadway. In 1936, he played Hamlet on the radio. Then he directed two Shakespeare productions of his own which put him on the map: a 1936 interpretation of “Julius Caesar” reset in the context of Fascist Europe, and a 1937 Voodoo-inspired “Macbeth.” His earlier Shakespeare films included a 1948 “Macbeth” (quite different from the stage production), and his 1952 “Othello.” Welles’ first appearance on television was in 1953, as the title character in an “Omnibus” production of “King Lear” — a role he was to play again onstage three years later. “Chimes at Midnight” was over a quarter of a century in the making. In 1939 Welles had put together an ambitious production called “Five Kings”, which folded together nine Shakespeare plays to tell the entire “War of the Roses” cycle, with himself in the plum role of Sir John Falstaff and Burgess Meredith as Price Hal (the young Henry V). This production collapsed under its own weight, and Welles went west to begin making films for RKO. He revisited it in 1960, as a much-condensed stage version, much more sharply focused on the Falstaff-Prince Hal relationship. The stage production was aborted, but it turned into a film, which Welles shot in 1964 and 1965. In addition to Welles as Falstaff, the film features John Gielgud as Henry IV, Ralph Richardson reading narration derived from Holinshead’s “Chronicles,” Margaret .com

Courtesy Film Forum, Photofest

L to R: Keith Baxter and Orson Welles in Welles’ “Chimes at Midnight.”

Rutherford as Mistress Quickly, Jeanne Moreau as Doll Tearsheet, and Keith Baxter as Prince Hal. “Chimes at Midnight” was released in time for the 1966 Cannes Film Festival and won a couple of awards that year, but here in America it was, for the most part, critically dismissed, thinly distributed and ignored by the public. Its reputation has improved over the years, at least with scholars and critics, despite the scarcity of prints — and the seeming non-existence of any good ones. Like all of his post-Hollywood films, “Chimes” was made on a shoestring, often making use of desperate techniques to hide the seams, usually “sleight-of-hand” editing, and the liberal use of overdubs in post-production to cover weak takes and performances. Muddy sound, in particular, has bedeviled this film in days past. In versions I watched years ago prior to the current restoration, the dialogue was almost impossible to understand. The present version not only addresses the audio flaws, but the print is visually pristine as well, providing audiences perhaps with what might be called the first real opportunity to properly evaluate the film. And it is indeed glorious, even eye-opening. Welles was gravely disappointed when audiences of his day didn’t see what he saw — that it was his best work both as an actor and as a director. And the fullness of time has also shown that it’s possibly the best Shakespeare adaptation ever put on film. Among other things, I can’t think of any other Shakespeare film that

feels so imbued with an Elizabethan atmosphere. Welles once said that “Chimes” wasn’t just about the growing estrangement between Falstaff and Hal, but also about the death of “Merrie England,” i.e. the old Medieval England of Maypoles and Chaucer and Robin Hood. What would follow would be all statecraft and modernity, and eventually World Empire. As Falstaff, the over-stuffed Welles drew on his own personal legend, of his reputation for drinking and gourmandizing and womanizing and boasting and irresponsibility, for a performance at once hilarious and full of sorrow and regret. And if the terrific performances weren’t enough, there is the justly celebrated “Battle of Shrewsbury” sequence — genuine spectacle of a size and scale one rightly wouldn’t expect in a film that is, until that point, rather intimate. But this too is a Wellesian magic trick. Less than 200 extras were made to stand for thousands, and the illusion is convincing. Of Welles’ “Chimes at Midnight,” it may truly be said that never has something so small ever seemed so large. Jan. 1–12. Mon.–Sat. at 12:30, 2:50, 5:10, 7:30 & 9:50 p.m. Sun. at 1:10, 3:30, 5:50 & 8:15 p.m. Runtime: 115 min. At Film Forum (209 W. Houston St., btw. Sixth Ave. & Varick St.). Call 212-727-8110 or visit filmforum.org. Tickets on-site are $13 general admission, $7.50 for Film Forum members. December 31, 2015 - January 06, 2016

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.com


Buhmann on Art: Motley at the Whitney

‘Jazz Age Modernist’ charts a daring visual language

“Hot Rhythm” / 1961. Oil on canvas, 40 × 48.375 in. (101.6 × 122.9 cm).

BY STEPHANIE BUHMANN One of the great visual chroniclers of 20th century American life, Archibald John Motley Jr. (1891– 1981) first came to prominence in the 1920s. His memorable depictions of African American, everyday urban life skillfully document the era of the Harlem Renaissance — when African American art, music, and literature flourished and impacted culture nationwide. Though born in New Orleans, Motley was based in Chicago for most of his life. There, he became one of the first black artists to attend the School of the Art Institute of Chicago, which provided him with an academic training focused on figurative painting in the European tradition. This education equipped him with impeccable technique — but

“Tongues (Holy Rollers)” / 1929. Oil on canvas, 29.25 x 36.125 in. (74.3 x 91.8 cm).

Motley’s mature work was far from conservative. In fact, he succeeded in creating a daring visual language that fused vivid narratives with elaborate spatial distortions. Rendered in his distinctive palette, Motley’s compositions range in complexity. His most impressive paintings feature eclectic groups of people from diverse racial backgrounds and social classes. Through Jan. 17 at the Whitney Museum of American Art (99 Gansevoort St., at Washington St.). Mon., Wed., Thurs. & Sun., 10:30 a.m.–6 p.m.; Fri.–Sat., 10:30 a.m.– 10 p.m. Tickets: $22 general; $18, seniors & students; free for those under 18. Pay what you wish Fri., 7–10 p.m. Call 212-570-3600 or visit whitney.org.

Images courtesy Chicago History Museum, © Valerie Gerrard Browne

“Self-Portrait (Myself at Work)” / 1933. Oil on canvas, 57.125 x 45.25 in. (145.1 x 114.9 cm).

.com

December 31, 2015 - January 06, 2016

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