In
1959, an actor named John Cassevetes changed movie making
forever, when he decided to become a director. Instead of
going the way of Hollywood, however, he made his first film
with his own money, and with the help of friends. As well,
the film was completely improvised. That film was called Shadows
, and the result is a film which, while far from perfect,
is a breakthrough, and part of a body of work which elevated
Cassevetes to the position of the father of independent film.
The
story is messy and filled with intensity and nervousness.
It is also strangely compelling. It involves a group of siblings,
three brothers and a sister. This family would be considered
black, although at least one is light-skinned enough to pass
for white. It is the sister who has the light skin, and this
creates the major problem in this film, as she becomes involved
with a white man. Eventually, however the brothers find out,
and one day kick the white man out of the house. This creates
a lot of tension, especially from the point of view of the
sister. I, for one, was rather shocked at her passivity to
the overpowering nature of the brothers. They clearly do not
give her a choice, and she does not fight back. Yet later
on in the film, she is about to go on a date with a local
black man. Her actions during these sequences seem to tell
me that this is her way of fighting back against the unspoken
racial codes which are obviously embedded in the mentality
of the male characters.
Two
other story threads appear in this film. Two of the brothers
have a career in music, one is the singer, the other is his
manager. The singer is bitter over some of the venues he has
to play, the sort where the customers would rather see dancing
girls than listen to an accomplished jazz singer, but the
manager always tries to put a positive spin on everything.
Another thread involves the third brother, who unlike the
others is truly aimless. His time is spent with his friends,
hanging out, and getting into trouble. These friends seem
to feel jealous of those who have done something with their
lives. The friends cover up their feelings of inadequacy by
dismissing those successful people. This is revealed in a
scene where the friends go to a museum and essentially insult
every piece of art in the place, and one of the friends says
that these were made by a bunch of professors who`ve failed
in life.
The
improvisation makes for a realistic film. Some of the actors
tend to stumble occasionally, and the emotions go wildly back
and forth, but you get the sense that it would be no different
in real life. The film does not feel like a poor experiment,
but a lively slice-of-live, always exciting to watch. As I
said, the story is somewhat messy, but it always feels real.
Cassevetes
had an interesting career. The impact of this film was such
that Paramount signed him for a long-term contract (which
was torn apart after the result of the first film). A similarly
antagonistic situation occurred with his next film, which
was one of Judy Garland`s final films. After this, he returned
to his original format, of raising money by acting (he was
Mia Farrow`s husband in Rosemary`s Baby, and was one of The
Dirty Dozen), and using it to produce films very much similar
to Shadows, including his Oscar-nominated Faces. His years
in Hollywood, however, found him more high-calibre acting
friends who would appear in his movies. His best film is A
Woman Under The Influence (1974), which starred Peter Falk,
and Cassevetes`s wife, Gena Rowlands. These two actors appeared
in many of Cassevetes`s films, along with other accomplished
character actors such as Seymour Cassel and Ben Gazzara.
David
Macdonald
David
Macdonald's Movie Reviews
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