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The Film Journal... Passionate and Informed Film Criticism From An Auteurist Perspective.
The Film Journal... Passionate and Informed Film Criticism From An Auteurist Perspective.
The Film Journal... Passionate and Informed Film Criticism From An Auteurist Perspective.
4/22/11 9:48 PM
Retrospective: John
Cassavetes
By Tim Applegate
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The Film Journal...Passionate and informed film criticism from an auteurist perspective. 4/22/11 9:48 PM
Faces (1968)
Many of the familiar trademarks - the jittery camerawork, the cinema verite
lighting, the extended (what some critics mistakenly considered misshapen)
sequences - are already here. The supporting performances - Fred Draper as
Freddie, Val Avery as McCarthy, Dorothy Gulliver as Florence, among others - are
all first-rate. The dialogue is scathing, ironic, and precise.
The cast and crew worked, for the most part, without pay, and many of the
interiors were filmed in Cassavetes' own home. Disdainful of a hierarchical studio
system that worshipped money andpower over art (a system which had recently
blackballed him) he did not limit the cast and crew to a single duty. Between
takes Cassel ran wires, or painted walls. The cameraman (George Sims) helped
edit the footage. Various members of the crew appear as extras in the film.
Critical reception was, to put it mildly, mixed. Surprisingly, Faces garnered three
Academy Award nominations - for Cassel and Carlin's performances, as well as
Cassavetes' original script. Not surprisingly, the film has survived as a cult favorite
long after most of the movies of 1968 are all but forgotten, and is still considered
in many critical quarters the director's most accomplished work.
Husbands (1970)
Boozy camaraderie among three New York City professionals (Cassavetes, Ben
Gazzara, and Peter Falk), following the death of a mutual friend. After the funeral
the three husbands embark on a drinking binge, argue with their wives, fly to
London, gamble at a casino, and manage to pick up women even more unstable
than they are. They confront mortality with bad jokes and expensive whiskey. Like
the male characters in Faces they are loud, aggressive, funny, obnoxious, and
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charming.
Directing himself for the first time, Cassavetes delivers a fine, ingratiating
performance. As Archie, Peter Falk is immensely likable. And Jenny Runacre,
playing the deeply conflicted woman Cassavetes picks up in a London casino,
makes an ideal match: like Cassavetes she is manic, quirky, and adrift. But in many
ways the picture belongs to Gazzara. In the trickiest role in the film Gazzara
evokes both our dismay (in one disarming scene he slaps his wife, then her
mother) and our sympathy. When he sits on a hotel bed quietly weeping, we
don't know whether to laugh or to weep along with him.
After the claustrophobic camera placements of Faces , Husbands loosens up. Even
an extended scene in a neighborhood bar feels airy, the camera casually panning a
chorus of drinkers who regale the three men with drunken renditions of old
favorite songs. In London Falk stands in the middle of a rain-swept street pleading
with the young woman he is trying, unsuccessfully, to seduce. And in the final
sequence Cassavetes kneels in his driveway to comfort his young daughter while
his son appears, like a blur, at the edge of the frame, a brief moment that
resonates long after the film is over. Here is the father and husband, not the
drunken wag.
"I believe that if an actor creates a character out of his emotions and
experiences, he should do with that character what he wants," Cassavetes said of
Husbands . "If Peter and Ben and I have three characters, why should a director
come in and impose a fourth will? If the feelings are true and the relationship is
pure, the story will come out of that. Most directors make a big mystery of their
work, they tell you about your character and your responsibility to the overall
thing. Bullshit. With people like Ben and Peter you don't give direction. You give
freedom and ideas."
For those who consider Faces and Husbands too raw, too long, and too
unflinching, here is the antidote…of sorts.
Seymour Cassel is Seymour Moscowitz, a New Jersey parking lot attendant who
relocates to Los Angeles searching, like many of Cassavetes' characters, for
something he cannot quite define. Gena Rowlands is Minnie Moore, a museum
curator whose hunger for love has led her into a disastrous affair with a married
man (Cassavetes), and a blind date with a bizarre middle-aged sociopath (Val
Avery). When Avery, enraged by Minnie's rejection, confronts Rowlands in a
parking lot, Cassel rushes to her rescue. Cassel then pursues Minnie for the rest of
the picture, courting her with all the subtlety of a bulldog. He is noisy, crass,
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persistent and, finally, irresistible. When she isn't pummeling him with her fists,
Minnie wearily accepts his advances. It's modern romance, as only Cassavetes
could envision it.
There are lovely, fey moments: Cassel and Rowlands dancing in a parking lot, or
serenading each other on a stairway; Cassel imitating Bugs Bunny; Rowlands
explaining to her mother (Lady Rowlands) that Seymour enjoys being a parking lot
attendant: "Mother, Seymour likes cars. He's very happy with cars."
Cassel is, as usual, splendid; like Rowlands, we're bowled over by his energy, his
exuberance for life. As the incurably romantic Minnie, Rowlands is luminous, her
line readings fresh and provocative; she's an emotional chameleon, constantly
changing skins. And in a genuinely hilarious cameo, Cassavetes' real-life mother
Katherine plays Moscowitz's overbearing Jewish mother. "This boy has no
ambition," she tells Minnie's mother. "He's not pretty. He eats sideways!"
One can easily imagine Cassavetes' detractors cringing when they viewed this
joyful romp - what could they criticize now? His famous, almost interminably long
takes are here replaced with short scenes and rapid edits. Except for one
disturbing exchange between Cassavetes and Rowlands, when he informs her that
his wife has attempted suicide, the tone of the film is lighthearted, almost
slapstick (in one sequence Cassel chases Rowlands down a sidewalk in his truck).
And if that weren't enough to infuriate those critics who loved to disparage him,
Cassavetes even thumbs his nose at the Hollywood movie kingdom those critics,
consciously or not, represent. "You know I think that movies are a conspiracy,"
Minnie tells her friend Florence (Elsie Ames). "They set you up from the time
you're a little kid. They set you up to believe in ideals, in strength, and of course,
in love. So you believe it."
In 1958, the year Broadway-trained actress Gena Rowlands appeared in her first
motion picture (The High Cost Of Living ), she married John Cassavetes, a creative
union that would flourish until Cassavetes' death in 1989. Over that period, and in
addition to her sterling work in her husband's landmark projects, Rowlands
appeared in numerous productions for such disparate directors as William Friedkin
(The Brinks Job ), Woody Allen (Another Woman ), and Jim Jarmusch (Night On
Earth ). In 1997 she portrayed, flawlessly, the courageous, self-sufficient widow in
Unhook The Stars , an underrated, under-attended picture directed by her son
Nick.
As Mabel Longhetti in A Woman Under The Influence , Rowlands gives what many
consider the finest performance of her career. Earthy one moment and ethereal
the next, Rowlands has always been a mercurial actress: in her best portrayals we
are never quite sure where she is taking us next. In Minnie and Moscovitz we
caught glimpses of that unpredictability, that spontaneity which, in A Woman
Under The Influence , becomes Mabel's dominant trait. It's a painful, affectionate,
harrowing portrait of a woman teetering on the edge.
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Mabel Longhetti is an emotionally fragile wife and mother of three who, during the
course of the movie, suffers a nervous breakdown. Peter Falk, in an impassioned,
superior characterization, is Rowlands' husband Nick. A construction foreman for
the city of L.A., Nick works long, demanding hours, and in the first scene he is
forced to cancel an evening with Rowlands when a water main breaks. In
response, Rowlands wanders into a nearby bar and picks up a stranger (O.G.
Dunn). The next morning Falk returns home with the members of his construction
crew, and in a bizarre morning ritual the men share a spaghetti breakfast with
Mabel. When Rowlands cradles one of the men (Billy Tidroe) in her arms, Falk loses
his patience and the mood of the sequence, the mood of the whole movie,
abruptly changes. It's a brilliantly written scene, and its key revelations - Mabel's
free spirit, Falk's sudden temper, Rowland's immense hunger for affection - echo
throughout the rest of the film.
Like Randle McMurphy in One Flew Over The Cuckoo's Nest , Mabel is "mad"
because she is unable to play the role society has created for her. Again and
again A Woman…questions our long-held notions of emotional stability by
dissecting the instability of the people who surround her. At the spaghetti
breakfast one of the construction workers suddenly bursts into song. On the
morning after their tryst, Dunn tells Mabel that he likes to pace around in the
morning and talk to himself. In a fit of rage and dismay Falk causes a co-worker to
tumble down the side of a hill. (Indeed, as the movie progresses, Falk's behavior
becomes nearly as eccentric as Rowlands'.) Even the doctor who commits her
seems slightly unhinged.
In one scene Rowlands, the consummate actress, turns to Falk, just as she must
have turned a hundred times to her husband, the director, and says "I don't know
what you want. How do you want me to be?"
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Cassavetes once remarked that if one of his movies elicited too many positive
responses at a test screening, he would re-shoot it. With The Killing Of A Chinese
Bookie , he needn't have worried. Densely atmospheric, murkily lit, and often
obscure and confusing, The Killing…is one of Cassavetes' least accessible films,
and one of his finest. His first foray into the crime genre, The Killing…combines
standard action sequences - a gunfight, a chase, a double-cross - with an incisive
character study of a proud man who, through recklessness, has placed everything
he has ever worked for in jeopardy. At its dark center, The Killing…is Cassavetes'
unique meditation on what it takes to be a man in America, and it is not a
comforting sight.
If Mabel Longhetti was unable to play the role society had deemed proper for her,
Cosmo Vitelli (Ben Gazzara), the central character in The Killing…, is unable not
to. The epitome of cool, of macho artifice, Gazzara hides his emotions behind a
facade of self-control. The owner of what must be the strangest strip club ever
presented on film (instead of merely disrobing, the strippers perform, to the
audience's dismay, clumsy cabaret acts), Cosmo Vitelli is a veteran of the Korean
War, the lover of one of his strippers (Azizi Jahati), and a self-made man. He is
also $23,000 in debt to a local gambling syndicate. To relieve the debt, and
presumably save his life, Gazzara reluctantly agrees to murder a rival crime lord.
With each successive film Cassavetes' writing became more expansive, and in The
Killing…he explores such manly issues as money ("money, that's Jesus", one of
the characters says), drinking, sex, gambling and guns. He also explores, as he
does in all his work, the idea of authenticity. Gazzara, like his strippers, lives his
life on a stage - in one way or another they are always performing - and once
again Cassavetes' screenplay mines that theme for all it's worth. "I'm only
happy," Cosmo tells the strippers, "when I can be what people want me to be,
rather than be myself."
In minor but seminal roles, Seymour Cassel and cult favorite Timothy Carey play
small-time hoods, and in their quiet manner they are as menacing as anyone
Scorsese or Coppola ever put onscreen. (Proving once again that he is more
interested in the ineffable mysteries of human behavior than in formal cinema
technique, Cassavetes shoots an entire sequence between the gangsters and
Gazzara in near total darkness, only their ghostly voices rising through the murk.)
As Cosmo's girlfriend Rachel, Johati projects a touching vulnerability. And in the
role of a lifetime, Gazzara absolutely shines. A deeply intuitive actor, Gazzara here
relies on his instincts, and in so doing crafts what is perhaps the most memorable
character in the entire Cassavetes' oeuvre. His Cosmo is a model of restraint,
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modulation, and self-deceit: in the final scene he stands in front of his club,
gingerly patting his side, where a bullet is lodged, as if through sheer will he could
make the blood disappear. When, in the movie's most remarkable passage, he
discusses the mother who abandoned him, he holds the pain inside - he stays cool
- which makes the revelation even more wrenching.
After the relative box-office success of A Woman Under The Influence , The
Killing…was, predictably, a financial disaster. Fortunately in Europe it fared much
better, particularly in France where Cassavetes was once again hailed as an
authentic innovator, an American Godard.
First shown at the Berlin Film Festival in 1977, and not released theatrically in the
United States until 1991, Opening Night tells the story of Myrtle Gordon (Gena
Rowlands) a famous stage actress who is rehearsing a play which details, in
Myrtle's words, "the gradual lessening of my power as a woman as I mature." The
play, written by a sixty-five year old playwright (Joan Blondell, in a role originally
conceived for Bette Davis), tackles the issue of aging head-on, a subject
Rowlands finds unworthy; "Age is depressing," she tells Blondell, "age is dull." In
the days leading up to the play's opening night on Broadway, the cast and crew
(including Cassavetes as an actor and Gazzara as the director) rehearse during the
day and then perform the play in front of a small live audience at night. Meanwhile
we watch, with that queasy fascination these pictures often evoke in the viewer,
Rowlands' attempts to come to grips with both her role in the production and her
own inner demons (aging, alcoholism, and the death of a young fan). Like so
many of Cassavetes' creations, Myrtle is dangling on the edge of an emotional
cliff.
Cassavetes never made a simple movie. To say, as some critics did at the time of
its release, that Opening Night is "about" aging, is to miss the point, for these
pictures were never about any one thing. Like his own directing methods, his films
are fluid; at their best, they seem to be occurring in real time. And if Opening
Night is "about" aging, it is also "about" actors, mortality, alcohol, insomnia, self-
delusion and finally, in the end, a kind of hope. And it is also very much about the
mysterious process of making movies in the first place. During the rehearsals
there are direct references to Minnie and Moscowitz, as well as A Woman Under
The Influence . And in the final scene Falk, Cassel and Peter Bogdanovich appear
backstage, playing themselves. In Cassavetes' movies, real life and filmed life
constantly blur, which is why they are so often compared to home movies, or
cinema verite. Unlike the previous films, the cinematography in Opening Night (by
Al Ruban) is formal, almost stately; Ruban often places the camera in a long
establishing shot, and then leaves it there, letting the actors find their space
within the static frame. Since many of the scenes take place on a stage, this
choice makes perfect sense; like the audience in the movie, we always know we
are watching a production or, in our case, a production within a production.
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For the live rehearsal scenes, Cassavetes placed an advertisement in a local paper
for people who would dress up and watch some actors perform scenes from a
play. He did not tell them when to laugh or applaud, because he wanted their
reactions to be genuine.
"He loved actors," Rowlands once said. "And he wanted the audience to enter
into the film with all of us, to have the feeling not just of observing but of being
there."
Gloria (1980)
Now here is a true oddity, a Cassavetes' film shunned by many of his staunchest
admirers for being, gasp, too conventional. A cat-and-mouse chase movie played
out on the streets of New York City, Gloria is the director's second foray into the
crime genre, but unlike his inimitable The Killing Of A Chinese Bookie , Gloria is a
fairly traditional gangster tale. And though there are memorable touches - the
gritty locations, Bill Conti's excellent score, and Gena Rowlands' entertaining
performance - there is little to distinguish it from dozens of others of the same
ilk.
Rowlands is Gloria, the former girlfriend of a Mob boss, who now lives alone in a
shabby apartment building. When a neighbor (Buck Henry), an auditor for a crime
syndicate, turns over evidence to the FBI, his family is killed by hit men, but not
before one of the children, a six-year old boy, escapes with Gloria. For the next
two hours Gloria and the boy flee the pursuing mobsters, holing up in cheap
flophouses while trying, for reasons that are never made quite clear, to travel to
Pittsburgh.
The first problem with Gloria is that Cassavetes is not, and never claimed to be, a
particularly visual director. And although there is nothing inherently wrong with
his handling of the action scenes, clearly those sequences would have been better
served by a more visceral helmsman, a Sam Peckinpah, or a Walter Hill. Secondly
there is the performance (or, to be more exact, the non-performance) of Juan
Adames as the boy Rowlands rescues from the Mob; Adames seems
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uncomfortable in front of the camera, his line readings are clumsy, and despite
Rowlands' yeoman efforts there is little chemistry between her and the boy. And
then there is the issue of Cassavetes himself, who later admitted to an
interviewer that "I was bored because I knew the answer to the picture the
moment we began…All my best work comes from not knowing." Unfortunately
that boredom shows through. It isn't a bad movie, just a lazy one.
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Love Streams began as a play, by Ted Allan, starring Rowlands and Jon Voight.
(In the movie, Voight was originally scheduled to play the Harmon character -
rumored to be based, loosely, on Leonard Bernstein - but Cassavetes balked when
Voight said he also wanted to direct.) Then a few weeks before shooting began,
Cassavetes was informed by his doctor that he had six months to live, a time
frame that proved to be wildly incorrect and yet one that must have
lent the production a sense of urgency, particularly its stunning final scene when
Cassavetes, desperate for affection, tells Rowlands that she is the only person he
has ever truly loved.
Footnote
Conclusion
To claim that the movies of John Cassavetes are some of the most influential in
modern American cinema is not to overstate the case. Directors from Robert
Altman to Martin Scorsese, from John Sayles to Sean Penn, as well as scores of
lesser-known independent artists, have acknowledged the debt. And yet there are
those in the critical community who still consider Cassavetes' pictures nothing
more than pretentious exercises in self-indulgence, and perhaps the best measure
of their worth is that even now, thirty-five years after the release of Faces , these
works still spark fierce debate.
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Watched in sequence, these eight pictures have a raw, cumulative power, the
resonance of true art. If they seem strange, difficult, and demanding, they are so
by design. And as long as cinema is regarded as a bona-fide art form, they will
continue to be seen, continue to be rediscovered by successive generations of
discerning filmgoers. Like the characters they so ably portray, the movies of John
Cassavetes are crude, vibrant, aggressive, and essential, and they are not about
to go away.
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