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Timothy "Speed" Levitch, an eccentric New York City tour bus guide, takes tourists around the island of Manhattan and shares an archive of beautifully distorted information about the city. Timothy "Speed" Levitch, an eccentric New York City tour bus guide, takes tourists around the island of Manhattan and shares an archive of beautifully distorted information about the city. Timothy "Speed" Levitch, an eccentric New York City tour bus guide, takes tourists around the island of Manhattan and shares an archive of beautifully distorted information about the city.

• Bennett Miller
• Timothy 'Speed' Levitch
• 30 User reviews
• 23 Critic reviews
• 69 Metascore
• 5 wins & 5 nominations

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• Production, box office & more at IMDbPro

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Timothy 'Speed' Levitch : I am cruising, currently, right now! I am cruising because I have dedicated myself to all that is creative and destructive in my life right now, and I am equally in love with every aspect of my life, and all the ingredients that have caused me turmoil and all the ingredients that have caused me glory. I am the living, whispered warning in the Roman general's ear, 'Glory is fleeting', and in that verb - that active verb 'fleeting' - there I live, there I reside, in this moment. I have dedicated myself to the idiom, 'I don't know.' And I am in love with the frantic chaos of this limitless universe.

• Connections Featured in Siskel & Ebert: Beloved/Happiness/Practical Magic/Love Is the Devil/The Cruise (1998)
• Soundtracks But Not For Me Written by George Gershwin (as George) and Ira Gershwin Performed by Timothy 'Speed' Levitch Published by Chappell & Co. (ASCAP)

User reviews 30

• Nov 9, 1998
• How long is The Cruise? Powered by Alexa
• October 23, 1998 (United States)
• United States
• New York City, New York, USA
• Charter Films Inc.
• See more company credits at IMDbPro
• $139,064 (estimated)

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• Runtime 1 hour 16 minutes
• Black and White

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The Ancient Craft of Tour-Guiding

By Andrew Marantz

Let’s say you’re a tourist with a full wallet who wants to see Manhattan. You will have your pick of conveyances: a hansom cab for charm, a stretch Hummer for opulence, a helicopter for scope. But for informativeness, nothing beats the double-decker tour bus. You can sit in the open air, gawking at the fifty-story buildings from your second-story vantage, while a guide—like a Baedeker audiobook, but human—spews ready-made historical factoids. You process the names and dates, feel edified, and forget them all on the flight home.

Imagine, then, riding a double-decker bus past Sheridan Square and hearing, over the P.A. system, a pinched, manic voice that sounds like Lenny Bruce speaking through a kazoo. “Fear: a basic theme of all of our lives. Afraid on the streets of Greenwich Village under threat of assassination, and the assassins are our dreams.” You are not dreaming. The voice belongs to Timothy (Speed) Levitch, the world’s premier avant-garde tour guide. Speaking of the past in the present tense, he notes that the bus is “five blocks from where D. H. Lawrence lives lasciviously” and “two blocks from where the playwright Arthur Miller contemplates suicide.” At this point, depending on your cast of mind, you will either disembark in fear or gleefully reach for your video camera.

“Tour-guiding is an ancient craft,” Levitch told me recently. “Moses is the first tour guide to forego a direct route. Odysseus is a sort of tour guide, of course. And Spartacus had the greatest destination for his tour group: freedom.” Levitch is a short and effusive man whose sartorial presentation is half aesthete, half vaudevillian. He wore a Union Army-style coat, two paisley scarves, New Balance sneakers, and an Abbie Hoffman hairdo, which he tweaked nervously with his hands. “Willy Wonka’s a great tour guide; he really opens up what you can do with the form,” he said. He also cited Woody Allen and Bugs Bunny as influences.

In 1998, Bennett Miller, who would go on to direct “Capote” and “Moneyball,” heard that there was a Gray Line tour guide blowing passengers’ minds with allusions to Nietzsche and Neruda. Levitch became the subject of Miller’s first feature, a black-and-white documentary called “The Cruise.” Another director, Richard Linklater, met Levitch at a screening of “The Cruise,” and the two men became friends. In Linklater’s 2002 cult classic “Waking Life,” Levitch delivered a wild-eyed monologue about life, Lorca, and lucid dreaming.

“Speed is amazing,” Linklater said. “You can blindfold him and drop him in a new place, and he’ll know every secret story.” Levitch now lives in Kansas City, where he leads a barbecue tour. He also works Bear Grylls-style, parachuting in to a city he’s never visited and building a tour from scratch. Levitch was recently asked to lead a tour of Silver Spring, Maryland. “That was great training—how to give a tour of nothing much,” Levitch says. He did some research and learned, among other things, that Silver Spring may have been the first town in America with storefront parking, which led to a meditation on the history of suburban sprawl. “People ask him how he does it,” Linklater said. “It’s like anything else in art or performance: it’s called fucking talent.”

Starting on Thursday, Hulu will air “ Up to Speed ,” a historico-comic series created by Linklater to showcase Levitch’s talents. The show’s initial run will consist of six episodes, each filmed in a different American city. On the third and final day of the New York shoot, I joined the cast and crew in Battery Park. (Watch an exclusive clip from the episode above.) It was not long after sunrise, and the tour group (thirteen extras, paid hourly) clutched paper cups of coffee and looked pallid. Alex Lipschultz, the show’s executive producer, told them, “The premise of the show is that Speed, the guy in the long jacket, is a tour guide. Today he’s taking you around the Statue of Liberty. Try not to look cold or unhappy.”

We boarded a seventy-two-foot catamaran and motored southwest in search of a good camera angle. The tour group milled around on the upper deck, mingling and snapping photos. “We don’t have a speaking role,” said Sandra Kamerman, an attractive woman with gray hair and sparkling blue eyes. “There’s some acting in being attentive to what Speed is saying. Not that it’s hard, though, because he’s so interesting.” Kamerman had worked as a lawyer and an art gallerist before pursuing acting, her true passion, at the age of fifty-nine.

“It’s easy work; it’s just listening to this innately quirky guy,” said Jonathan Schmidt, who is twenty-seven. Schmidt plays drums for a band called Morningwood; he began acting only recently, when a friend asked him to portray a rock drummer in a Bacardi commercial. “It was the most amazing experience,” Schmidt said, “so I figured, why not try acting for a while?” For the sake of continuity, the tour group had been wearing the same clothes for three days. Schmidt, who had been out partying until shortly before he arrived at Battery Park, looked as if he’d been in his clothes for a week.

Of all the people on the boat, Levitch had the least trouble looking happy. “This is so freaking cool,” he said, looking out over the bow. “We have our own private ferry! There’s so many times where you take the Staten Island Ferry and you want it to just park in the middle for a while.” Eiko Kawashima, who trained as a stage actress in her native Tokyo, was similarly enthralled by the view. She held her camera at arm’s length and took a shot of herself with the Statue of Liberty in the background. “I guess I am a real tourist,” she said.

When the angle looked right, Linklater called action (or, more precisely, “Rock it!”) and Levitch started talking, emphasizing some phrases with a burlesque shoulder roll. “New York is a complicated comedian, spinning jokes with our circumstances,” he said. “Frederic Bartholdi is said to have based the head of the statue on his mother and the body on his mistress.” Under her breath, Kamerman said, “As a mother, that makes me a bit uncomfortable.” Schmidt nodded off between takes.

After a few hours, the boat turned back toward the harbor. The crew passed around a clear plastic tray of bacon; Linklater, a vegan, declined. “I always saw tour-guiding as a sort of U.N. on wheels,” Levitch said. “Or rudders, I guess, in this case. You’re serenading people from all over the world. I used to have dreams of walking into a ballroom and there’d be all the fabulous tourists I’d met over the years. You form a relationship with all these people, thirty minutes at a time, and then they’re gone.” On shore, a producer asked Linklater if he still needed the extras. “No, the rest of the shots are just Speed,” Linklater said. “The tourists are free to go.” Levitch waved goodbye, and his most recent tour group dispersed into lower Manhattan.

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The TV shoots images and sounds at me. The cruise just happened to be in the exact DVD player that was connected to the light and sound box. My initial dismissal of everything speed said was most likely a dismissal of any part of myself that i didn’t quite understand yet; The part of me that feels private inside the box of clear, visually unobscure glass and metal called a car, wherein i sing loudly, and put fingers in private places and dig out private treasures. Yes, he was frightening because he was the representation of a truly exposed being. I even labeled it as annoying; as if boundlessness was a problem. His discriptions were dichotomous, but relatively logical. Everyone that ever watched this movie with me afterwords went through the same mourning process: puzzlement, rejection, submission, re-evaluation, rejection and it culminates with not an affirmation of Speed Levitch, but at least the acknowledgement that there are entities unlike myself out there and they do, in fact, make sense.

So, Speed, Have you become the person your grandparents wished you would become, have you become the person they feared you would become, or have you become an entirely different creature altogether?

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Timothy "Speed" Levitch is a documentary filmmaker's dream subject. An eccentric, flamboyant, occasionally brilliant guide on one of New York City's double-decker tour buses, Levitch gives unsuspecting but tolerant passengers a healthy dose of his unique philosophy along with the requisite city lore and architectural facts. Levitch lives and breathes for "the cruise," his rule-free, free-fall voyage through the world: He's like Alice exploring Wonderland, naïve and omnipotent at once. Of course, Levitch could be mad as a hatter, but director Bennett Miller, like all good documentarians, lets his subject speak for himself, leaving the viewer to determine issues of sanity. Miller's movie, shot in black and white, accompanies Levitch on his job, recording the man's oblique and esoteric ruminations on life, love, and the city. But the most effective moments occur when Levitch is off-duty. On one striking occasion, the beauty of the Brooklyn Bridge inspires Levitch to drop his Wilde-like aphorisms and let down his guard a bit. As he proceeds to berate all the people who have wronged him throughout his life, from childhood bullies to his mother, you can't help but feel sorry for him. Unlike, say, R. Crumb, Levitch comes across as far too fragile and sensitive to withstand the scrutiny of the camera and its implied audience, and The Cruise , despite Levitch's good humor, reeks a bit of exploitation. But judging from the way Levitch, an innocent abroad in his own city, copes with life, he would probably chalk up Miller's work as just one more stop on his never-ending cruise.

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Alice Gregory

Interactive Tour Guide Helps Visitors Unravel NYC's Secrets

Timothy "Speed" Levitch is best known as the subject of The Cruise, a 1998 documentary that followed the erudite and eccentric tour guide as he unearthed the untold history of New York City. Now, Levitch has a new project, an interactive NYC guide called The Pegleg, geared to visitors looking for something more engaging than the Empire State Building/Circle Line tour. The game is designed by Italian company LOG607. Readers send a text message to a number printed in the book and receive location-based clues that they use to solve a mystery. Wired caught up with Levitch to discuss New York's forgotten past and the art of turning a guidebook into a game.

Wired: How does the game work?

Timothy Levitch: The initial text sends you to one of the locations for your first clue. (The game even knows how long it should take you to walk from one point to another.) The text will also include a code that corresponds to one of the 40 stories in the book. As you go through the game, the narratives sort themselves chronologically.

Wired: So, is it a game or a guidebook?

Timothy Levitch: It's a guidebook—you are learning about the city and its history—but it's fun. You're trying to solve the mystery posed in the book's introduction. And it has a surprise ending. That was really important to me. It had to be fun but not condescending. It had to be emotionally satisfying.

Wired: Sounds like a counterintuitive way to immerse people in the city.

Timothy Levitch: Yeah, when we're on our phones, we're usually doing everything but appreciating the city. This is a cool way to learn about it, especially for people who hate history or who think they do. They want to have fun on vacation. This is like Dungeons & Dragons, but real life.

Wired: What's one of your favorite locations?

Timothy Levitch: The Luckiest Subway Grate in the Whole City. It's the one that Marilyn Monroe stood on when she wore the billowy dress in The Seven Year Itch. When you stand on it, you can feel the jealous rage of the neighboring subway grates on your right and left, because they were so close yet so far away.

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FILM REVIEW; Strong Opinions of a Dizzy Tour Guide

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By Stephen Holden

• Oct. 23, 1998

Timothy (Speed) Levitch, the loquacious New York City tour-bus guide, sidewalk philosopher and one-man almanac of urban lore profiled in Bennett Miller's compelling documentary film ''The Cruise,'' is a man who enjoys making himself dizzy. One of his favorite activities, he confides, is to spin around under the twin towers of the World Trade Center and, when thoroughly disoriented, to look up and reel under the illusion that the buildings are toppling down on him.

Filmed in high-contrast black and white that makes the city look harshly magnificent, at once irresistible and forbidding, ''The Cruise'' could be described as a whirlwind tour both of New York and of Mr. Levitch's feverish mind. In his extreme quirkiness and in his love-hate (but mostly love) relationship with the city, he is a representative New Yorker; there is probably no one in the world remotely like him.

There are moments when Mr. Levitch, who speaks in an emphatic nasal honk, suggests a 90's update of a classic New York cabby. He has a strong opinion on almost everything and is ready to share it in winding soliloquies that display an impressive, eclectic erudition. His monologues, he confesses, aren't just aimed at entertaining tourists, they're a technique for picking up women.

As his double-decker tour bus meanders through Manhattan, Mr. Levitch disgorges an encyclopedia's worth of facts, all filtered through a highly personal appreciation of New York. During a fascinating mini-history of Central Park, he mentions that the park was designed to evoke a Transcendentalist ideal of peaceful contemplation. Baseball, which was just being invented at the time, would have been outlawed there, he maintains.

Mr. Levitch appears to be able to pinpoint the residence of every famous writer who ever lived in New York. Once he's finished ticking off the names of authors (along with salty anecdotes about their drinking habits and suicide attempts) who lived in Greenwich Village at various times, you are left with a palpable sense of that neighborhood as a permanent artists' colony. Mr. Levitch's gift for metaphor often approaches the poetic. He muses that he sometimes thinks that if the city ''is a living organism, perhaps it's more on the level of a scintillating streamlined mermaid who sings to me at night.''

As the movie goes along, the anger and insecurity underlying his intellectual bravado increasingly surface.

Stung by his grandparents' disappointment in him for not being a material success, he reflects on the degrading aspects of conformism (symbolized in the city's planning by its right-angled grid pattern) and bridles at the prospect of having to shed the street clothes he's been accustomed to wearing on the job to don a uniform.

The philosophy that emerges, which Mr. Levitch calls ''the cruise,'' is synonymous with his continually imperiled sense of personal freedom, which in his own flowery vocabulary is ''an effervescent homage to the present tense.''

''I am cruising because I have dedicated myself to all that is creative and destructive in my life right now, and I am equally in love with every aspect of my life, and I am in love with the frantic chaos of this limitless universe,'' he babbles.

As much as Mr. Levitch's voice grates, you can't help but admire the zest for life of this heroically independent but impossibly self-centered crank.

Directed and produced by Bennett Miller; director of photography, Mr. Miller; edited by Michael Levine; music by Marty Beller; released by Artisan Entertainment. At Angelika Film Center, Mercer and Houston Streets, Greenwich Village. Running time: 76 minutes. This film is not rated.

WITH: Timothy (Speed) Levitch.

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Dec 3, 2014

The Cruise v. The Anti-Cruise: On Timothy Speed Levitch, 16 Years Later

By Margaret Eby

Early on in  The Cruise , the 1998 documentary that would vaunt him into a state of quasi-celebrity, Gray Line tour guide Timothy “Speed” Levitch clues the audience in to the way he thinks about the city that he daily informs crowds of baffled out-of-towners about. “New York City is a living organism; It evolves, it devolves, it fluctuates as a living organism,” Levitch explains. “So my relationship with New York City is as vitriolic as the relationship with myself and with any other human being which means that it changes every millisecond, that it’s in constant fluctuation. This winter I really felt like we were getting a divorce…I’m just glad that it’s not quite as angry with me right now.”

This is the form of Levitch’s illuminating, interesting lunacy, personifying the city to such an extent that he often consults buildings, lingers with cornices, and imagines the sexual prowess of certain terracotta facades. Levitch, in his trademark nasal tones, is a kind of traveling philosopher-clown, giving his double-decker audiences more than they bargained for. Dressed in loud blazers with frayed lining and reflective aviators, his unkempt curly hair blown askew by the breeze, Levitch bleats out facts and observations rapidfire into the bus PA system. These performances are mixed with a kind of awe and angst at the city around him, a place that seems to be in cahoots to either welcome him into its embrace or expell him entirely. Like: “If architecture is the history of phallic emotion, the Empire State Building is utter catharsis, and we are sitting in its silhouette.” Like: “May I re-state, recapitulate, and generally regurgitate, when you are sitting in the middle of midtown Manhattan, you are sitting amongst a 20th Century invention, a city that grew up in an explosion, as an explosion.  It is an explosion, an experiment, a system of test tubes gurgling, boiling, out of control, radioactive atoms swirling.  Civilization has never looked like this before.  This is ludicrousness and this cannot last.”

You get the picture. Rants like those (and especially one where Levitch rails against the tyranny of the grid plan, forcing us all into walking in right angles) made Levitch into a cult figure of sorts after  The Cruise came out. The documentary was director Bennett Miller’s first film (he now has big league titles  Moneyball ,  Capote , and  Foxcatcher  to his name), and at its core, it’s a loving portrait of a certain recognizable type: The Urban Eccentric. You probably know one in your own life, perhaps not as effusive as Levitch, but certainly caught somewhere between the poles of insanity and genius. They are the people that, as  30 Rock ‘s Jack Donaghy wisely advised, you never follow to a second location. But Miller does, and with a careful eye for editing down Levitch’s rambles into more palatable chunks, transforms Levitch from street preacher to cult hero. One of the great things about the film is that your perspective on Levitch is constantly changing.

The Cruise  takes its title from Levitch’s personal life philosophy, in which we are all, simultaneously engaged in “the cruise.” What is it, exactly? What “the cruise” means to Levitch seems to be leading a particular kind of life, one that’s always moving towards fulfillment and beauty and fighting the forces of conformity and homogenization. It’s also poised against “the anti-cruise”: paralysis, corporate blandness, and his grandparents’ expectations. At one point Levitch, crossing the Brooklyn Bridge with a copy of  Leaves of Grass , launches into a particularly epic tirade about his enemies. (“To Josh: Your narcissism is mediocre.”)

“You see maybe one quarter to one third of the whole rant,” Miller said when he appeared at the IFC Center on Tuesday night with  This American Life  host Ira Glass to talk about  The Cruise . (The event, hosted by SundanceNow Doc Club, is part of a series curated by Glass .) “The actual rant is a whole short film.” Miller, who knew Levitch through his younger brother, had actually started filming Levitch the summer before the footage seen in  The Cruise . He had accumulated 77 hours of footage and decided to scrap it all. He started again, trying to poke holes in Levitch’s schtick, to get at the glimmers of person rather than persona that appear in the film. Miller credits the final result to “attrition,” but it sounded something more like persistance and fascination. (One tidbit for fans: Levitch would make up the height of the Empire State Building during each of his loops. On days that he was feeling better about himself, he would estimate it to be taller.)

Miller didn’t seem eager to discuss his time with Levitch in great detail despite Glass’ expert inquiries; perhaps his new release was weighing heavily on his mind. Though it was good to have Miller’s perspective on Levitch, and a few questions answered (Levitch was 25   when  The Cruise  was filmed, despite appearing to be anywhere between 30 and 40-something), there is no doubt that  The Cruise now has a life of its own, an identity wholely independent from its creator. Moments in the film now are unexpectedly heartbreaking: Levitch’s habit of spinning in circles in World Trade Center Plaza and then lying on the ground so that the twin towers appeared to fall in on him was whimsical and wistful in 1998, now it seems oddly prescient and tragic.

But what  The Cruise  accomplishes so beautifully is not just capturing a character, but a coping mechanism, the strategies that young New Yorkers develop to staying in a city that’s changing so rapidly it can be hard to find a foothold. The first time I saw  The Cruise  as a teenager, I had only visited New York a few times; Levitch’s spouting seemed cool, profound, and interesting in the way that a lot of things seem cool, profound, and interesting as a teenager, vaguely connected to grandiose theories of the rebellious unique few raging against the boring, distant masses of adulthood.

When I saw The Cruise again last night, as someone who has lived in New York City for a decade, he struck me as a person who was a more concentrated version of many people I know, or at least a version of them. New York City is an environment that both draws in creative people and systematically crushes them. You come here open to the imposing landscape, the sheer possibilities, but you can’t stay that wide-eyed and enrapt without doing yourself an injury. Sooner or later New York is just where you live with all its attendant inconveniences and expenses, not a playground of metropolitan treasures. In order to live here, you have to develop sharp elbows and intricate armor. Levitch’s whole job is to strip away that protective gear, to impress people with the enormity of the place. He has to stay open, to some extent. And that is maybe the whole trick of living here, to keep a little bit of yourself open. To, every once in a while, stand on a corner in Greenwich Village, and let yourself be overwhelmed by just how much  has gone on in a small patch of a city. To understand how unlikely this particular confluence of things is; how extrordinary that it exists now. To be on 7th Avenue and think, not just of your next location, but where you are:

Six blocks from the Provincetown Playhouse where Eugene O’Neill begins his early playwriting career. Six blocks from where Henry Miller decides he hates New York City forever and moves to Paris. Two blocks from where Willa Cather lives. Three blocks from where e.e. cummings lives. Three blocks from where Sherwood Anderson lives. Four blocks from where H.L. Mencken lives. Four blocks from where Theodore Dreiser lives. Five blocks from where Nathanael West lives. Five blocks from where D.H. Lawrence lives…lasciviously.

At the end of the Q&A, Miller noted that Levitch, who now lives in Kansas City, would be returning to New York City to give tours. Those interested should give their email to an assistant outside. The line to sign up wound half-way around the theater.

Follow Margaret Eby on Twitter @margareteby.

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Elektrostal Nearby

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Elektrostal Page

• Information /Russian-Federation--Moscow-Oblast--Elektrostal#info
• Demography /Russian-Federation--Moscow-Oblast--Elektrostal#demo
• Geography /Russian-Federation--Moscow-Oblast--Elektrostal#geo
• Distance /Russian-Federation--Moscow-Oblast--Elektrostal#dist1
• Map /Russian-Federation--Moscow-Oblast--Elektrostal#map
• Nearby cities and villages /Russian-Federation--Moscow-Oblast--Elektrostal#dist2
• Weather /Russian-Federation--Moscow-Oblast--Elektrostal#weather
• Sunrise and sunset /Russian-Federation--Moscow-Oblast--Elektrostal#sun
• Hotel /Russian-Federation--Moscow-Oblast--Elektrostal#hotel
• Nearby /Russian-Federation--Moscow-Oblast--Elektrostal#around
• Page /Russian-Federation--Moscow-Oblast--Elektrostal#page
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Geographic coordinates of Elektrostal, Moscow Oblast, Russia

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Coordinates of Elektrostal in decimal degrees

Coordinates of elektrostal in degrees and decimal minutes, utm coordinates of elektrostal, geographic coordinate systems.

WGS 84 coordinate reference system is the latest revision of the World Geodetic System, which is used in mapping and navigation, including GPS satellite navigation system (the Global Positioning System).

Geographic coordinates (latitude and longitude) define a position on the Earth’s surface. Coordinates are angular units. The canonical form of latitude and longitude representation uses degrees (°), minutes (′), and seconds (″). GPS systems widely use coordinates in degrees and decimal minutes, or in decimal degrees.

Latitude varies from −90° to 90°. The latitude of the Equator is 0°; the latitude of the South Pole is −90°; the latitude of the North Pole is 90°. Positive latitude values correspond to the geographic locations north of the Equator (abbrev. N). Negative latitude values correspond to the geographic locations south of the Equator (abbrev. S).

Longitude is counted from the prime meridian ( IERS Reference Meridian for WGS 84) and varies from −180° to 180°. Positive longitude values correspond to the geographic locations east of the prime meridian (abbrev. E). Negative longitude values correspond to the geographic locations west of the prime meridian (abbrev. W).

UTM or Universal Transverse Mercator coordinate system divides the Earth’s surface into 60 longitudinal zones. The coordinates of a location within each zone are defined as a planar coordinate pair related to the intersection of the equator and the zone’s central meridian, and measured in meters.

Elevation above sea level is a measure of a geographic location’s height. We are using the global digital elevation model GTOPO30 .

Elektrostal , Moscow Oblast, Russia