An extensive and sprawling documentary about John Cassavetes, though really just about his films and filmmaking (there’s an all-too-brief mention of the cirrhosis that killed him in the end, but very few other personal details are offered). Indeed, much of the documentary focuses on clips from the five films in the Criterion box set, which I can only assume is due to rights issues (there’s a lot that’s great about Minnie and Moskowitz, and I’d have liked to have heard more about the studio movies or his last films in the 1980s), but all the same it does a good job of laying out his philosophy and practice. The structure appears to be along fairly oblique lines, cued up by somewhat pretentious quotes, and finished with a bit of verse, but it’s making for a case for Cassavetes as something quite unlike the ordinary run of American directors, which is understandable, though beyond these little flourishes it never really manages to be as distinctive as the films it’s about. Obviously, at over three hours it could have been a bit tighter, and it’s solidly conventional in form, with a range of talking heads and clips, but it’s nice to hear from his frequent collaborators (plus a few academics, including the ubiquitous-when-it-comes-to-Cassavetes Ray Carney).
- The original DVD of this had some poster galleries, but the Blu-ray edition added those images to the separate films, and relegated this entire documentary to the supplements on the Shadows disc, so despite having its own spine number, it no longer really has a separate identity as a film within the Collection.
FILM REVIEW: Criterion Collection
Director/Writer Charles Kiselyak; Starring John Cassavetes, Gena Rowlands, Peter Falk, Ben Gazzara, Seymour Cassel, Lynn Carlin, Lelia Goldoni, Carol Kane, Sean Penn, Peter Bogdanovich, Jon Voight, Al Ruban, John Sayles; Length 200 minutes.
Seen at Paramount, Wellington, Tuesday 26 March 2002 (and most recently on Blu-ray at home, London, Thursday 18 July 2019).
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).
In my ongoing Criterion watching project, I stalled a bit before this film. I’d seen it before, and I’d rated it highly, but it’s one of those films that you need to take a big breath and a bit of time before you launch yourself into it because it is unrelenting. It’s not bleak exactly, but it’s exhausting because Gena Rowlands — who utterly dominates the film — just fills every empty space with her presence. She’s Mabel, the mother to three kids, and the wife to Peter Falk’s construction engineer Nick (or some kind of municipal worker), and if the way I’m defining her life seems a little regressive, well that’s the world of the film, and it’s strongly implied that part of her problem is the way that she has been pushed into this role, and the way she comes apart at the seams trying to live up to expectations made of her. That’s also partly why it’s so heartbreaking, because although she’s clearly become unhinged, it’s Nick who’s the bully and the bad person. He can be sweet and understanding at times, but every time he loses control of Mabel, he starts shouting and gets pushy and violent, and the kids, who are there most of the time, can’t do much about it. Cassavetes keeps the camera tight in on them for much of the film, only at the end disappearing behind a closed curtain as he leaves them. It’s a film of towering acting performances, not least from Rowlands, although Falk is also on brilliant form. There are these characters around the edges (parents, kids, co-workers of Nick’s), who feel almost like non-actors and perhaps they are, but for all its age, it feels continually fresh and perceptive about its characters, and about mental health.
FILM REVIEW: Criterion Collection
Director/Writer John Cassavetes; Cinematographers Al Ruban and Mitch Breit; Starring Gena Rowlands, Peter Falk; Length 147 minutes.
Seen at National Library, Wellington, Wednesday 12 May 2002 (and earlier on VHS at home, Wellington, February 2000, and most recently on Blu-ray at home, London, Thursday 4 July 2019).
This is in some ways the ur-Cassavetes picture, which came after a few unsuccessful studio pictures in the early-60s as a return to the improvisational quality of Shadows, not to mention developing the verité-style black-and-white high-contrast camerawork into a grander form. Although it was all scripted, it does still feel like the actors are using the script as a means to finding the emotion, and that’s what Cassavetes is ultimately most interested in, those unforced moments of feeling that come through in the actors’ performances. Frequently the scenes as written feel rambling or unfocused, and often the actors are playing drunk, which doesn’t always pay off, but it captures something that a lot of cinema wasn’t doing in the US of the 1960s (Bergman is namechecked within the film, and that feels like a more fair comparison point). Thus, for all that it’s a film about an older man confronting mortality and a fairly unremarkable working life, as well as people trapped somewhat in the past, it also feels quite fresh and honest in a way.
- As with most of Cassavetes’ films, there are multiple versions that exist. The original cut was around three hours, and there was also a 147 minute cut, from which 18 minutes of an introduction feature here as an extra.
- Making ‘Faces’ (2004) is a fairly standard making-of Criterion extra, which is structured around interviews with four key members of the production who were still alive: the cameraman/editor Al Ruban, and actors Gena Rowlands, Seymour Cassel and Lynn Carlin. All of them provide stories from the film’s set that suggest Cassavetes’ methods, how he helped actors to find the performance, as well as the way his artistic direction manifested itself (he wanted actors to find their own way into the characters, rather than providing notes, as one example). Al Ruban (the cinematographer and editor) expands on some of the technical challenges, such as finding all the sound was un-synched at the end, or having too few lights to film the big club scenes.
- Ruban also contributes a separate 12-minute extra just about his choice of film stock and lighting for the film’s relatively restrained number of locations, which is probably more for those with an interest in lighting.
- Finally, there’s a two-part interview for the French TV series Cinéastes de notre temps, conducted during the making of and after the release of Faces. We get much of his credo and philosophy of filmmaking — and one which has informed a lot of independent cinema ever since: the idea that even if you don’t have any money, you should go out and make your vision, in the hope that at least someone will share your passion somewhere down the line. Cassavetes comes across as supremely relaxed and chatty in the first part, filmed presumably in some manic period during production, as he paces around his offices and home, and introduces the people around him, all bonhomie and gregarious host, which the filmmakers cannily intercut with footage of laughter and joviality in the film he’s made, suggesting the direct line from his lived experience to his art.
FILM REVIEW: Criterion Collection
Director/Writer John Cassavetes; Cinematographer Al Ruban; Starring John Marley, Gena Rowlands, Lynn Carlin, Seymour Cassel; Length 130 minutes.
Seen at National Library, Wellington, Wednesday 8 May 2002 (and earlier on VHS at home, Wellington, March 1999, and most recently on Blu-ray at home, London, Monday 27 May 2019).