John
Cassevettes has made some very bizarre films about a wide
variety of nutcases and other dysfunctional individuals, from
the alcoholic woman in A Woman Under the Influence, to the
selfish couples in Faces. But Minnie and Moskowitz is possibly
the most bizarre of them all, because it is under the guise
of a romantic comedy about two colourful and mis-matched individuals
who find love. Yet the content is far from romantic, and the
characters far from sane. People expecting a romantic comedy
will be dismayed when they discover they've attended a Cassevettes
picture. But if you watch this movie much like you do any
other Cassevettes film, you will more than likely receive
about the same levels of enjoyment.
The first positive about this film is the fact that this film
has finally been released on video, courtesy of Anchor Bay
Entertainment, a great company if you are looking for dirt-cheap
videos of practically any genre (although somehow I imagine
that Ilsa, She-Wolf of the SS probably sells a bit more than
this one!). This means that almost every Cassevettes film,
at one time or another, has been released on video. I think
Too Late Blues, from Cassevettes's failed attempts to break
into big-studio productions back in the early 60's, is the
only one not yet released.
In
Minnie and Moskowitz, Gena Rowlands, who was married to Cassevettes,
and Seymour Cassel star as possibly one of the most oddest
romantic couples ever in the movies. She is a museum curator,
suffering through a bad relationship with a married man (played
by Cassevettes). He is a lower-class hippie of sorts, who
goes through life working odd jobs, usually involving the
parking of cars.
They
meet in what is, to me, the single most insane sequence ever
in a Cassevettes film. Rowlands goes on a date with a man
who tries much too hard to impress her with his feelings for
her beauty and his willingness to reveal his weaknesses before
lashing out at her, and blondes (!) in general, when his efforts
are politely dismissed. This leads to a fight outside between
Cassel and the man, and then a very strange interaction between
the two afterwards, when, after freaking her out and dropping
her off on the street, decides to chase her down again to
the point of driving on the sidewalk to get her. Yet they
start a relationship, which, in its own way, appears almost
as doomed as her relationship with the married man, as he
is unable to temper his obsession for her, and she finds it
difficult to decide whether to remain with him or not.
It
is extremely difficult to accept this story as about a beautiful
love affair. Everyone acts a little nutty, and, as with other
Cassevettes films, it can sometimes get a little scary. But
the relationship is compelling to view, somewhat like watching
an accident on some Fox police video special, only a lot more
insightful. I wonder, for example, if there is any significance
to the main characters' enjoyment of Bogart films. Cassel
is seen watching The Maltese Falcon, while Rowlands is seen
viewing Casablanca. In the simplest terms, of course we've
got the macho man watching the tough-guy flick, while the
romantic dreamer watches the romantic chick flick. In Falcon,
Bogart, as Sam Spade, is a cold-blooded individual, without
sympathy even for the woman who supposedly loves him, and
working on his own code, while in Casablanca, Bogart's tough
exterior masks a vulnerability, as he is forced to admit his
feelings for Ingrid Bergman. In Minnie and Moskowitz, it is
painfully apparent that Seymour has his own code, while Minnie
falls for anyone who gives her a sweet line or two, even if
it's someone as rotten as the Cassevettes character, or as
obsessed as Seymour. As the film begins, Seymour is seen aggressively
flirting with unknown women at bars (and getting in to trouble
due to it), while Minnie only now doubts her relationship
with Cassevettes enough to leave him. Overall, the two make
this relationship extremely difficult for themselves - he
can be nice, but his madness over her escalates to outright
possessiveness, a good example being when he (unsuccessfully)
picks a fight with a guy who takes Minnie home from a dance;
this after Seymour abandons her at that very dance because
of what he feels is embarrassment on her part when she fails
to adequately introduce him to people (from an obviously higher
social circle) whom she knows. The fact that Minnie sticks
with the guy through to the end of the story (this is, after
all, supposed to be a romantic comedy, so this is no surprise)
is evidence of either patience, or her own form of madness.
I think myself that most audiences will find a problem with
this film on the basis of Cassel's character, because we live
in an era where behaviour such as Seymour's is not acceptable.
Numerous TV-movies have been made about stalkers and other
possessive types, and if this movie were pitched by someone
other than Cassevettes to a movie executive, it would probably
be sold as a creepy thriller.
The
acting is very interesting, especially since, for the most
part, it doesn't feel like acting. Cassevettes's films do
not appear grounded in simple character development as seen
in conventional films -- his characters rant and rave, behave
erratically, sometimes violently, and do generally crazy things.
You get the impression that these performers are winging it
- and winging it fairly well -- most of the time, although
it is probably more the case of Cassevettes knowing how to
stage such behaviour, and the actors knowing how to play it.
Overall,
Minnie and Moskowitz is a very interesting entry in the Cassevettes
filmography. I don't think it is as good as A Woman Under
the Influence, or even Shadows, but it is certainly more accessible
than, say, Faces, which was too long-winded even for Cassevettes.
People expecting something cute will be disappointed, but
if you are looking for something truly different, or for more
craziness from Cassevettes, this film will certainly do the
job.
David
Macdonald
David
Macdonald's Movie Reviews
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