"Week-end at the Waldorf" (1945) directed by Robert Zigler Leonard is a bit of New York City and because of that, it is also a curious movie well illuminated by light inside the shadowy rooms, the elevators, the hall, the corridors and the floors, the views from the windows, even the decoration of the doors, when a kind of candidate for a burglar of high society and a melancholic actress lodged each one there, somewhere with a common door. That is the core of the story with countless sparks and stark's episodes, also a Mexican orchestra and a visit of a business delegation of a given country from an important region from the world.
The oil affair is there as background of a trick for happiness like the loneliness of a gentle man officer remembering as the recently death of a friend in fighting on the finishing war in Europe. Even a small sequence, here and there of a kind of documentary in the middle of this fiction movie, it was very interesting from the time where "I guess he laughs" it was a line said by this Irene about him. The sensation of claustrophobia that this hotel as location in itself brings to the story is minor.
When he goes traveling abroad by plane, this one turns the wings near the skyscraper where from the other side she stays observing it through the window of her room - as in close and counter close perspectives of the shots in the last scene - saying reciprocally good bye visually each other, in spite of distances with him by the small window from the plane as in an aerodynamic view of Manhattan and its architectural modernity of the time from the sky in a competitive way with the gray building of the hotel.
The oil affair is there as background of a trick for happiness like the loneliness of a gentle man officer remembering as the recently death of a friend in fighting on the finishing war in Europe. Even a small sequence, here and there of a kind of documentary in the middle of this fiction movie, it was very interesting from the time where "I guess he laughs" it was a line said by this Irene about him. The sensation of claustrophobia that this hotel as location in itself brings to the story is minor.
When he goes traveling abroad by plane, this one turns the wings near the skyscraper where from the other side she stays observing it through the window of her room - as in close and counter close perspectives of the shots in the last scene - saying reciprocally good bye visually each other, in spite of distances with him by the small window from the plane as in an aerodynamic view of Manhattan and its architectural modernity of the time from the sky in a competitive way with the gray building of the hotel.