The godfather of independent cinema and one of the titans of forwarding film as a means of artistic expression, John Cassavetes is a filmmaker, I'm sorry to say, I'm just now diving into. I have been intrigued by the way in which Cassavetes went about his art, acting in films as a means to finance his own and remain independent from the studio system and every creative restriction that brings. Working as few filmmakers have the chance to, Cassavetes was able to take as long as he wanted with each of his films, shooting, editing, and reshooting until he was fully satisfied with the final product. I suppose being involved continuously in another film project coupled with the intimidation to begin watching his work; it's taken me much longer embark on a journey through Cassavetes filmography than I would have liked. In October of last year, I unreservedly fell in love with Brain De Palma's 1978 film THE FURY, and as odd as that bridge is, that film is what pushed me into seeing, at long last, the work made by Cassavetes.
The gracefully imperfect feature film debut of Cassavetes' SHADOWS was, apparently, filmed twice. A nearly extinct version screened in 1957 was refilmed and replaced with the 1959 version which I watched. Completed with a minuscule budget using a crew of novice actors Cassavetes was so displeased with the audience reaction to the initial screening that he filmed the second version known today. A title card at the close of the film reveals that SHADOWS was an experiment in improvisation. The story of a family of musicians involved in the beat scene in Manhattan is told lyrically against a remarkable jazz score, flowing between the three family members brilliantly. Benny (Ben Carruthers) and Hugh (Hugh Hurd) vary in their in their commitment to their music and their belief that they can make it on their musical talents, but not in their love and protective instincts of their sister Lelia. Lelia (Lelia Goldoni) is also going through the motions of life until she meets Tony (Anthony Ray) and allows herself to believe this might be the love of her life. The prospect of beginning an inter-racial relationship scares Tony away, however, and her brothers must heal the hurt in Leila's heart.
Filmed in beat to the music it is scored with; SHADOWS moves between each character in the film in Capriccio, giving the impression that each person is independent of the other, only for the ending to reveal that each is in sync with the other. Each principal has their individual motivation despite working as a unit. Leila seeks love, Benny is searching for purpose, and Hugh is pursuing confidence. Their family bond is strong, yet Cassavetes brilliantly illustrates the agency of each and their separate stories that beg to be told. The improvisational style and the nonprofessional actors lend to the realism and struggle of both racism and what it means to chase a dream. I was reminded throughout the film, especially during its opening, of Louis Malle's heavily jazz-inspired 1958 feature, ELEVATOR TO THE GALLOWS. The black and white photography of the light-drenched city streets with the dazzling jazz score and frenetic energy of a young filmmaker show just how radiant the debuts of two very different directors can be. Shadows may not have hit every note, but it is a film that acts as a sublime preview of the brilliance that Cassavetes' capability.
The gracefully imperfect feature film debut of Cassavetes' SHADOWS was, apparently, filmed twice. A nearly extinct version screened in 1957 was refilmed and replaced with the 1959 version which I watched. Completed with a minuscule budget using a crew of novice actors Cassavetes was so displeased with the audience reaction to the initial screening that he filmed the second version known today. A title card at the close of the film reveals that SHADOWS was an experiment in improvisation. The story of a family of musicians involved in the beat scene in Manhattan is told lyrically against a remarkable jazz score, flowing between the three family members brilliantly. Benny (Ben Carruthers) and Hugh (Hugh Hurd) vary in their in their commitment to their music and their belief that they can make it on their musical talents, but not in their love and protective instincts of their sister Lelia. Lelia (Lelia Goldoni) is also going through the motions of life until she meets Tony (Anthony Ray) and allows herself to believe this might be the love of her life. The prospect of beginning an inter-racial relationship scares Tony away, however, and her brothers must heal the hurt in Leila's heart.
Filmed in beat to the music it is scored with; SHADOWS moves between each character in the film in Capriccio, giving the impression that each person is independent of the other, only for the ending to reveal that each is in sync with the other. Each principal has their individual motivation despite working as a unit. Leila seeks love, Benny is searching for purpose, and Hugh is pursuing confidence. Their family bond is strong, yet Cassavetes brilliantly illustrates the agency of each and their separate stories that beg to be told. The improvisational style and the nonprofessional actors lend to the realism and struggle of both racism and what it means to chase a dream. I was reminded throughout the film, especially during its opening, of Louis Malle's heavily jazz-inspired 1958 feature, ELEVATOR TO THE GALLOWS. The black and white photography of the light-drenched city streets with the dazzling jazz score and frenetic energy of a young filmmaker show just how radiant the debuts of two very different directors can be. Shadows may not have hit every note, but it is a film that acts as a sublime preview of the brilliance that Cassavetes' capability.