From time to time, a film buried long ago, unknown to most, emerges from its cult status to reclaim its proper place in the pantheon of great cinema. The 1956 documentary On the Bowery is one such film that can make that claim. Introduced by the legendary filmmaker Martin Scorsese, who explains why he identifies with the film both on a personal and historical level (he grew up a few blocks away from where the film was shot), Lionel Rogosin’s On the Bowery takes the viewer to the famously impoverished New York City street known for housing the destitute and those suffering from alcohol abuse. While there is a very simplistic plot setup that frames the film’s three day course, most of the film captures the essence of the Bowery by employing a kind of impressionistic realism that gives the film its gritty, naturalistic look. Rogosin sought to portray his subjects sympathetically, simply showing their persoanl struggles without preaching or romanticizing their plight. The film was added to the prestigious National Film Registry in 2008 because of it groundbreaking stature.
On the bowery