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I thought it was much more, an ideal

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debut film that sparkled with bits of genius. Take one otherwise unremarkable scene in which the lead character

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moves across the East River, her dreams, courage and household items packed into a rental trailer she is towing across the 59th Street Bridge. She steers uptown on First Avenue, then turns left toward Central Park, winding through it on one of the familiar

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cross-park routes, turns right on Broadway, then left onto an Upper West Side street,

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finally stopping in front of the family抯 new home. What抯

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so special about that? Here抯 what: this was the first time I had seen a geographically correct moving montage in a movie � real cars in real traffic in the actual order of transit required to get from point A (the ordinary life in not � Manhattan) to point B (Manhattan), a distance of miles physically but light-years culturally.It was her journalist抯 curiosity that made Nora the directing talent she was.

Cheap MLBshowed up to work that day. But read Nora抯 coverage and you抮e in the Rockaways in February 1964. Her plays � all that voice and detail � are so universal. Love, Loss and What I Wore played Mexico City, Paris and Australia and, I bet, killed.Nora抯 films, of course, mine the same veins of society抯 gold. Go back and watch Sleepless in Seattle. Notice as Rosie O扗onnell

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