Coming the year after The Killing of a Chinese Bookie, this could be construed as another film about Cassavetes’ relationship to art and artistic practice — and that is certainly a major element in it — but after the very masculine energy of the previous film, this one refocuses the story once again on Gena Rowlands and becomes about her character Myrtle’s (not-entirely-)self-destruction. By that I mean that she, as a celebrated theatre actor, has the adulation and the awards, but she also has a coterie of people around her who are only too happy to enable her in her downward spiral, just so long as they can make some money off her along the way. Her trajectory is triggered by the death of a young fan, whose presence comes back to haunt her throughout, which gets her to contemplating her own mortality and ageing, and perhaps it’s also a little to do with having to perform boring bourgeois plays about families and relationships (which she doesn’t really have in the same way). Maybe that last one is my misreading, but Myrtle’s erratic behaviour (brought on by the way she’s constantly pushed by those around her) leads her to ditch much of the text of the play she’s in, during its small-town off-Broadway run, such that by the Broadway opening night of the title she and Cassavetes are riffing on something completely different (to the irritation of the playwright, the legendary Joan Blondell). This sequence is largely improvised, and it’s unclear to me whether we’re supposed to take it as a swipe at how theatre audiences will laugh at any old nonsense, or about how much the actors react against the original text, or just about a person breaking down and opening themselves up, but in any case it’s a potent story about the price of art.
- Ben Gazzara speaks to Gena Rowlands at her home in the mid-2000s, discussing the film’s themes, the other actors, how it was made, and how annoyed Cassavetes got at being called an auteur. There’s another short piece where DoP/producer Al Ruban speaks about making the film and the way he talks about Cassavetes does sort of fit that description, but then there’s a lot about the way he specifically collaborated on his creations.
- There are two fairly straightforward trailers that lean heavily on footage from the final performance of the play-within-the-film.
FILM REVIEW: Criterion Collection
Director/Writer John Cassavetes; Cinematographer Al Ruban; Starring Gena Rowlands, Ben Gazzara, Joan Blondell, John Cassavetes; Length 144 minutes.
Seen at National Library, Wellington, Wednesday 15 May 2002 (and earlier on VHS at home, Wellington, August 2001, and most recently on Blu-ray at home, London, Friday 12 July 2019).