Criterion Sunday 256: A Constant Forge (2000)

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).

CRITERION EXTRAS:

  • 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).

Criterion Sunday 252: Faces (1968)

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.

CRITERION EXTRAS:

  • 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).