The film is the story of two adult siblings who have not seen each other in years as both endure turmoil in their individual lives where they reunite to understand what is wrong with them. It is a film that explores two people who both deal with loneliness with one breaking away from her family while her brother is losing himself to a lifestyle that has become fleeting. The film’s screenplay by John Cassavetes and Ted Allen, which is based on the play by the latter, is a study of sibling relationships as well as two people who are in and out of love. Robert Harmon (John Cassavetes) is a novelist who spends his time going to nightclubs as he is doing research for a novel as he spends his time at home with a bevy of women while is pursuing a singer in Susan (Diahnne Abbott). His sister Sarah Lawson (Gena Rowlands) has just divorced her husband Jack (Seymour Cassel) as they are in a custody battle over their teenage daughter Debbie (Risa Martha Blewitt) who is choosing her father instead of Sarah due to Sarah’s own emotional issues.
The first act is about the individual lives of Robert and Sarah where the two become lost in their own lives with the former continuing a troubling lifestyle while he wants to go out with Susan but does not want any emotional attachments. For Sarah, Debbie’s decision to be with her father becomes emotionally and mentally crushing where she would take bad advice from her psychiatrist to distract herself from her issues only to put herself in a worst situation. The second act begins with not just Sarah’s own reunion with Robert but also an unexpected visitor to his 8-year-old son Albie (Jakob Shaw), whose mother is going away for the weekend, forcing Robert to spend a day with him. Despite Robert’s faults as a man who cares more about himself than Albie, he is aware of his faults as he knows he is not the parental figure Albie needs where he would have an unfortunate encounter with Albie’s stepfather. The third act relates to Sarah trying to do something for Robert as he is alone in his house while she is also trying to deal with her own situation where elements of surrealism would occur.
Cassavetes’ direction is stylish for some of the moments that involve surrealism as it plays into Sarah’s own thoughts about her family. Yet, Cassavetes maintains a sense of normalcy in terms of the compositions he creates with much of the film set in Robert’s home which is the home that Cassavetes and Gena Rowlands own in Los Angeles, California. Shot on locations in Southern California including Los Angeles and parts of Las Vegas, Cassavetes creates a film that is lively yet also full of uncertainty in his compositions with the wide and medium shots to get a look into the locations including Robert’s home where the hallways has this sense of claustrophobia to play into Robert’s own isolation. There are also close-ups that play into the loneliness that both Robert and Sarah deal with, as Cassavetes also aims for this sense of drama that does feel theatrical only because it is set at Robert’s house. Cassavetes’ usage of tracking shots is also key as its help play into the movement of one location at the house to another instead of aiming for something loose with hand-held cameras.
Cassavetes’ approach to surrealism plays more into Sarah’s own thoughts as her own family life begins to crumble. Notably a violent scene in the first act when she is in Paris thinking about her husband and daughter as well as a few other moments in the film’s third act. It all plays with Sarah trying to make sense of her faults where she decides to do something for Robert since he no longer has his many girlfriends at the house. What she does is a shock to Robert, but he cares about Sarah that he is willing to go along with it despite his own faults. Even when Sarah goes into a state of delirium as she becomes overwhelmed with her own drama as Robert begins to do anything to get her out of her state. Cassavetes would create a sense of urgency in the drama while also keeping things uncertain as it relates to the fates of both Robert and Sarah as they are both at a crossroad over their own individual lives as they need each other more than ever. Overall, Cassavetes crafts a somber yet rapturous film about two siblings who reunite to deal with their own loneliness.
Cinematographer Al Ruban does brilliant work with the film’s cinematography with the way some of the nighttime interior/exterior scenes are presented along with the sunny look of the daytime exterior scenes. Editor George C. Villasenor does excellent work with the editing with its stylish approach to jump-cuts while knowing when not to cut during some of the long tracking shots. Production designer Phedon Papamichael and art director Maria Caso do amazing work with the look of Robert’s home with its array of picture galleries as well as the hotel room he and his son stayed in Vegas as well as the home of Susan. Costume designers Jennifer Smith-Ashley and Lydia Manderson do fantastic work with the costumes in the posh dresses that Sarah wears to the suits and tuxedos that Robert wear as it plays into their lifestyles.
Makeup artist Michael Stein and hairstylist Deann Power do terrific work with the look of the characters in some of the performance parts such as the nightclub and a weird ballerina performance in the film’s third act. The special effects by John Eggett does nice work with some of the film’s minimal effects that play into a few surreal moments that Sarah dreams about. Sound mixers Bo Harwood, Richard Lightstone, and Mike Denecke do superb work with the sound in capturing everything that is happening on location including music that is played in a room or at a club. The film’s music by Bo Harwood is wonderful for its music score that only appears sparingly in its mixture of jazz and electronic music that plays into the drama and some of the surreal elements while its music soundtracks consists largely of jazz, folk, and cabaret music including the stuff played at the nightclub that Robert goes to.
The film’s marvelous ensemble cast include some notable small roles from Raphael de Niro as Susan’s son, Xan Cassavetes and Dominique Davalos as backup singers for Susan, John Roselius as a man that Sarah meets in a bowling alley, David Rowlands as Sarah’s psychiatrist who gives her bad advice, Robert Fieldsteel as a doctor that appears late in the film, Tom Badal as Jack’s lawyer, Al Ruban as Sarah’s lawyer, Joan Foley as the judge in the custody case, Christopher O’Neill as a drag performer named Phyllis that Robert meets at a nightclub, Julie Allan as Robert’s secretary Charlene, Magaret Abbott as Susan’s mother Margarita whom Robert would party with, Eddy Donno as Albie’s stepfather who hates Robert, Michele Conway as Albie’s mother, and in the role of Robert’s girlfriends at his house include Leslie Hope, Renee Leflore, Joan Dykman, Bronwyn Bober, Victoria Morgan, Barbara Difrenza, and Cindy Davidson.
Jakob Shaw and Risa Martha Blewitt are fantastic in their respective roles as Robert’s son Albie and Sarah’s daughter Debbie as two kids who are in complicated situations with the former trying to get to know his dad is despite Robert’s troubling lifestyle while the latter is someone who feels smothered by her mother and prefers to be with her father. Diahnne Abbott is excellent as the cabaret singer Susan as a woman that Robert pursues as she is hesitant about spending time with him while being aware of his charms and good qualities though she is troubled by his bad qualities. Seymour Cassel is superb as Sarah’s ex-husband Jack Lawson who is weary of his ex-wife’s mood swings and behavior where he is trying to get custody of their daughter even though he admits to knowing much in how to deal with a teenage girl.
Finally, there’s John Cassavetes and Gena Rowlands in tremendous performances in their respective roles as the siblings Robert and Sarah. Cassavetes brings a charm and liveliness to the character of Robert who likes to party and be around women while also works as a writer where he goes to nightclubs to do research as is reluctant to get serious in being in a relationship despite his feelings for Susan. Rowlands is the more dramatic of the two as a woman that is in anguish over her custody battle and often loving too much where she is coping with not just uncertainty in her life but also the fear of being truly alone. Cassavetes and Rowlands together are electrifying to watch as two broken people who are troubled by the past as well as issues in their own life as they play into this sibling dynamic of two people who really need each other.
Love Streams is a spectacular film by John Cassavetes that is highlighted by the performances of himself and wife Gena Rowlands. Along with its supporting cast, colorful visuals, study of loss and loneliness, and a playful yet eerie music soundtrack. The film is an intense dramatic film that is about two siblings who are both falling apart in their own lives as they also try to help each other after a long period of estrangement. In the end, Love Streams is a sensational film by John Cassavetes.
John Cassavetes Films: (Shadows (1959 film)) – (Too Late Blues) – (A Child is Waiting) – (Faces) – Husbands - (Minnie and Moskowitz) – A Woman Under the Influence - (The Killing of a Chinese Bookie) – (Opening Night) – Gloria (1980 film) - (Big Trouble (1986 film))
© thevoid99 2025
(In Memory of M. Emmet Walsh 1935-2024)
Set in Philadelphia in the span of an entire night, the film follows a small-time mobster who calls his estranged best friend for help after being in hiding over a theft as he’s also pursued by a hitman. It is a film that is about male friendship between two lifelong friends as they spend an entire night on the run from a hitman while trying assess the situation created by one of them who has become paranoid and unruly. Elaine May’s screenplay is largely straightforward as it is told in the span of 12 hours where Nicky is hiding in a hotel as he knows there’s a contract for his head as he’s stolen money that left someone dead as the boss Dave Resnick (Sanford Meisner) wants Nicky dead with the hitman Kinney (Ned Beatty) in pursuit. Mikey gets the call from Nicky after years of not getting anything from him as he tries to help yet the two would go on the run throughout the city as they also cope with their estrangement as Nicky acts erratic as well as changing plans much to Mikey’s frustrations for much of the night.
May’s direction is quite unique for the fact that much of the film is shot at night and has a looseness in the way she approaches a crime film involving two men who are on the run. Shot on location in Philadelphia as well as Los Angeles, May creates a film that is filled with tension as it plays into these two estranged men who both have families yet Mikey is the one that is devoted as he would call his wife Annie (Rose Arrick) a few times telling her that he’ll be late as she knows something is up. There are some wide shots that May would create to play into the tension and looseness as much of the dialogue feels improvised. Yet, May chooses to be more intimate in the way the titular characters interact with one another through medium shots and some close-ups that includes scenes of Kinney waiting in a car to do his job.
May also plays into this sense of chaos that Nicky would put Mikey through such as a meeting with a hooker in Nellie (Carol Grace) whom Nicky treats terribly and convinces Mikey to try and have sex with her. It is among these dark moments in the film that would lead to its third act as it shows why these two men have been estranged with Nicky becoming more erratic and abusive despite the seriousness of his situation. May also infuse some humor as well as dark humor in how Nicky reacts to things as well as to liven things up as it would be this distraction of him avoiding the issues he is facing. The film’s third act is definitely filled with a lot of dramatic suspense with Mikey making a decision for himself as it also plays into this ending that not surprising but heartbreaking. Overall, May crafts a compelling and riveting film about two estranged friends who are on the run from a hitman as they deal with their estrangement and the severity of their actions.
Cinematographer Victor J. Kemper, with additional work from Lucien Ballard, Bernie Abramson, Jack Cooperman, and Jerry File, does excellent work with the film’s cinematography for using low-key lights for many of the exterior scenes at night as well as some stylish lighting with Ballard bringing a softer look for the film’s final sequence. Editor John Carter, with additional work by Sheldon Kahn, does nice work with the editing as it is largely straightforward that does include some rhythmic cuts to play into the dark humor and suspense. Production designer Paul Sylbert and set decorator John P. Austin do brilliant work with the look of Nell’s home as well as the home where Mikey lives with his family and a few places they go to.
The sound work of Christopher Newman and Larry Jost is terrific for the sound as it is largely straightforward in the way music is played in a bar or the way things sound from afar or up-close outside in the streets. The film’s music by John Strauss is wonderful for its jazz-like score that plays into the drama and suspense while its soundtrack include music from the O-Jays, the Andrew Sisters, and standards performed by Strauss.
The film’s superb ensemble cast feature some notable small roles and appearances from M. Emmet Walsh as a bus driver who gets into a fight with Nicky, Sy Travers as a hotel clerk, Danny Klein as Mikey’s young son Harry, Virginia Smith as Nicky’s mother-in-law, William Hickey as a mob figure in Sid Fine, Sanford Meisner as the mob boss Dave Resnick whose money was stolen by Nicky, Rose Arrick as Mikey’s wife Annie who would learn more about Nicky and Mikey’s issues with him, and Joyce Van Patten in a fantastic one-scene performance as Nicky’s estranged wife Jan who reluctantly helps Nicky despite her disdain for him over his erratic behavior and lack of remorse for his own actions. Carol Grace is excellent as Nellie as a prostitute who is a lover of Nicky yet proves to be far more engaging in the view of Mikey as she is treated horribly by Nicky who only wants her for sex and to slap around.
Ned Beatty is amazing as the hitman Kinney as a man who goes on the pursuit of Nicky as he becomes frustrated in his search and having to wait around as he drives throughout the city as it is a bit of a comical performance but also dark in what he had to do. Finally, there’s the duo of Peter Falk and John Cassavetes in great performances in their respective roles as the titular characters. Falk as the more sensible Mikey is someone that is respectful as he tries to help Nicky yet is constantly frustrated while is put into situations that get him into trouble as he would be pushed to the edge. Cassavetes’ performance as Nicky is a lot more energetic to convey the paranoia and erratic behavior as a man that knows he’s going to be killed as he tries to kill time in order to avoid Kinney. Falk and Cassavetes together have a unique chemistry in the way they play off one another with Falk being the straight man and Cassavetes being the wilder of the two as they also have a looseness into their performances as they are a major highlight of the film.
Mikey and Nicky is a phenomenal film from Elaine May that features tremendous leading performances from Peter Falk and John Cassavetes. Along with its supporting cast, gritty visuals, its exploration of male friendship, and a fun music soundtrack. It is a crime drama that doesn’t play by the conventions while also exploring a man facing death and his friend to save him despite his many frustrations towards him. In the end, Mikey and Nicky is a sensational film from Elaine May.
Elaine May Films: (A New Leaf) – (The Heartbreak Kid) – (Ishtar) – (Mike Nichols: American Master)
© thevoid99 2024
Written, directed, edited, and co-starring John Cassavetes, Husbands is the story of three men who hang out together as they deal with the death of a friend as they’re forced to deal with their own sense of mortality and next step in their lives. The film is a look into the lives of three friends who have all succeeded professionally and personally but deal with the specter of death as they wonder what will happen next when the unexpected happens. Also starring Ben Gazzara, Peter Falk, Jenny Runacre, Jenny-Lee Wright, and Noelle Kao. Husbands is a riveting and compelling film from John Cassavetes.
The film follows three men who all deal with the death of their friend as they ponder what to do next as they would try to reclaim elements of their youth amidst a mid-life crisis. It’s a film that play into these three men as they spend much of their time going out and just ask questions about life while they also deal with the state of their own lives professionally and personally. John Cassavetes’ screenplay is loose in terms of its structure as it doesn’t have much of a plot in favor of exploring these three men just doing whatever they can to pass the time whether it’s to go to a bar and drink or go to a gym and play basketball. Much of it has these three men figuring things out as Archie (Peter Falk) is talking about what he’s thinking while Gus (John Cassavetes) is dealing with what is next. Then there’s Harry (Ben Gazzara) who is a businessman with a marriage that is falling apart as he decides to go to London and takes Archie and Gus with him. The first half is largely set in New York City and areas nearby while the second half takes place in London where the three men get drunk, gamble, and meet other women as it would become this key moment of realization over their lost youth.
Cassavetes’ direction is very loose in terms of its presentation where there are no sets used in favor of shooting everything on location whether it’s in New York City and nearby areas as well as London for the film’s second half including a few scenes inside airplanes. While there aren’t anything stylized throughout the film, Cassavetes does maintain a sense of realism as he would shoot long monologues in one take while keeping the settings simple in the way he would frame a shot whether it’s in a close-up, a medium shot, or a wide shot. Though the film’s lack of plot and long takes would meander the film’s pacing where some of these moments go on for too long. Cassavetes would play into the sense of uncertainty these three men endure as well as the women they meet in London where the realization that they’re married and have kids come into play. Cassavetes’ editing is straightforward with a few jump cuts as it help play into the drama including the film’s climax as it relates to the decision of one of the characters and the reaction of the two. Overall, Cassavetes creates a captivating film about three men facing mid-life crises following the death of a longtime friend.
Cinematographer Victor Kemper does excellent work with the film’s cinematography as it is largely straightforward to play into the film’s realistic presentation. The sound work of James Perdue is terrific for its natural approach to sound to capture everything on location including the music as the only piece used that wasn’t recorded on location is a jazz piece during the film’s opening scenes.
The film’s incredible cast include some notable small roles from Nick and Xan Cassavetes as Gus’ kids, Eleanor Cody Gould as a singer at a bar, Claire Malis as the widow of the men’s dead friend, Meta Shaw Stevens as Harry’s wife, Lorraine MacMartin as Harry’s mother-in-law, Noelle Kao as an Asian woman Archie tries to flirt with in London, Jenny Runacre as Mary Tynan whom Gus tries to sleep with in London only for things to not work out, and Jenny Lee Wright as a Londoner named Pearl whom Harry meets and falls for during his time in London.
John Cassavetes is brilliant as Gus as a man that is lost in his grief as he tries to cope it with through sports and drink as his time in London would give him time to realize that he’s not a young man anymore. Peter Falk is fantastic as Archie as a man that is constantly talking about what he thinks in the wake of their friend’s death as he comes to term with himself and his own realization about his life. Finally, there’s Ben Gazzara in an amazing performance as Harry as a businessman that is dealing with a failing marriage as he is eager to reclaim his youth and lust for life as well as the fact that he is starting to lose sight of reality.
Husbands is a brilliant film from John Cassavetes. Despite its slow and meandering pacing in some parts of the film, it is still a fascinating film that explores three men dealing with loss as well as uncertainty as they reach middle age in their journey to reclaim their youth. In the end, Husbands is an excellent film from John Cassavetes.
John Cassavetes Films: (Shadows) – (Too Late Blues) – (A Child is Waiting) – (Faces) – (Minnie and Moskowitz) – A Woman Under the Influence - (The Killing of a Chinese Bookie) – (Opening Night) – Gloria (1980 film) - Love Streams – (Big Trouble (1986 film))
© thevoid99 2018
Directed by Brian De Palma and written by John Farris that is based on his novel, The Fury is the story of a young woman who is asked by a man to find his son as they both share psychic powers where the man’s son is being used by an intelligence operative as a weapon. The film is an exploration into the world of telekinesis and other psychic powers where a man asks a girl to find his son and save him from total destruction. Starring Kirk Douglas, John Cassavetes, Amy Irving, Andrew Stevens, Carrie Snodgress, and Charles Durning. The Fury is a chilling yet stylish film from Brian De Palma.
The film is a simple tale about a man trying to find his son one year after he had been presumed dead following a terrorist attack in the Middle East where he asks a young woman who shares the same kind of psychic power that his son has to find him. Yet, it is filled with a lot of suspense where this young woman is just trying to learn more about her psychic powers as she’s afraid to hurt people while learning that an intelligence operative will try to find her so she would be used as a weapon the same way he’s doing to a young man that he’s taken from his former best friend. It is a film that explores the world of the psychic powers where this young woman tries to find some control yet learns about the horrors of what is happening to this young man as she would eventually help this man’s father who just wants him back.
John Farris’ script definitely takes its time to play into the suspense while exploring the world of psychics while making it an adventure film where a father asks a young girl to find his son. Even as its lead character Peter Sandza (Kirk Douglas) just wants to find his son Robin (Andrew Stevens) and give him back a life without danger or secrets since Peter is known as a spy. Yet, the betrayal of his friend Childress (John Cassavetes) makes the search more personal as Peter knows he’s being watched as the only ally he has is a nurse named Hester (Carrie Snodgress) who works at an institute that Robin was briefly was in. When Esther learns that a young girl named Gillian (Amy Irving) is taken in as she has the same powers that Childress wants, she helps Gillian escape in order to help Peter find Robin before he becomes this ticking time bomb that will destroy everything around him.
Brian De Palma’s direction is definitely very stylish in the way he creates some compositions as well as the presentation of some of the film’s horror. Still, De Palma keeps things simple with the opening sequence where Peter and Robin are in the Middle East having some fun with Childress until a terrorist attack occurs where Peter is presumed dead yet he realizes what is really going on. Since much of the film is set in Chicago, De Palma creates some very suspenseful sequences where Peter is being chased by Childress’ men as well as create some small yet suspenseful moments where Gillian deals with her powers. When she’s taken to an institute, things seemed fine until she touches one of her doctors where she has this image of what is happening to Robin where it would amp up the suspense.
The direction would also include some very chilling scenes that involve Robin trying to maintain control of his powers but it becomes very clear that he is also very unstable where a sequence set in an amusement park showcases what he’s becoming. Though there’s a few moments where some of the presentation of the suspense doesn’t work entirely, it does play into the stakes that Peter Sandza and Gillian have to deal with where the eventually confrontation with Robin and Childress does occur. Even as it involves psychic powers and emotions that play into this climax. Overall, De Palma crafts a very thrilling yet fascinating film about a father trying to get back his son from dark forces.
Cinematographer Richard H. Kline does excellent work with the cinematography for many of the film‘s nighttime interior and exterior looks with its lights while keeping things simple for its daytime interior and exterior scenes. Editor Paul Hirsch does brilliant work with the editing where it is emphasized by its sense of style from its jump-cuts, dissolves, and slow-motion cuts to play into the film‘s suspense. Production designer Bill Malley, with set decorator Audrey A. Blasdel and art director Richard Lawrence, does terrific work with the set pieces from the look of the institute as well as the mansion that Childress lives in.
Costume designer Theoni V. Aldredge does some nice work with the costumes as it‘s mostly casual in some parts with the exception of the people working for Childress. Special makeup effects by Rick Baker does fantastic work with some of the makeup work that happens whoever people touch Gillian where they bleed and such. Sound editor Dan Sable does superb work with the sound to play into the atmosphere in some of the film‘s location as well as the scenes of terror. The film’s music by John Williams is amazing for its sublime orchestral score to play into its suspense as well as its use of electronic backgrounds to help build up the suspense.
The casting by Lyn Stalmaster is incredible for the ensemble that is created as it features some early appearances from Daryl Hannah as a schoolmate of Gillian, James Belushi as a beach bum, and Dennis Franz as a patrol officer Peter carjacks. Other small roles include William Finley as a man who follows Gillian early in the film for Peter, Rutanya Alda as a secretary at the institute, Joyce Eaton as Gillian’s mother, Carol Rossen as a doctor at the institute, and Fiona Lewis as Dr. Susan Charles who watches over Robin as she tries to manipulate him for Childress. Charles Durning is terrific as the institute head Dr. Jim McKeever who is aware of Gillian’s powers knowing that Childress will do something bad to her. Andrew Stevens is superb as Robin Sandza as a young man who is taken by Childress where he finds himself as this unstable psychic weapon that has no control of his emotions.
Carrie Snodgress is wonderful as Peter’s lover Hester who helps him to find Gillian as she works as a nurse in the institute while dealing with what is really going on inside. Amy Irving is amazing as Gillian as this young woman who deals with her psychic powers and visions as she also helps Peter find Robin realizing the psychic connection she has with him. John Cassavetes is brilliant as the slimy Childress as a man who realizes the power that Robin and Gillian have as he tries to use them as weapons while also trying to eliminate Peter. Finally, there’s Kirk Douglas in a phenomenal performance as Peter Sandza as a man just trying to get his son back from the man who portrayed him where Douglas brings a lot of gravitas and charm to a good man while also proving to be a badass.
The Fury is a remarkable film from Brian De Palma that features some exhilarating performances from Kirk Douglas, Amy Irving, and John Cassavetes. The film is definitely one of De Palma’s finest films in terms of the horror that he creates as well as create an engaging tale of a father trying to get his son back. In the end, The Fury is a sensational film from Brian De Palma.
Brian De Palma Films: (Murder a la Mod) - (Greetings) - (The Wedding Party) - (Dionysus in ‘69) - (Hi, Mom!) - (Get to Know Your Rabbit) - Sisters - Phantom of the Paradise - Obsession - Carrie - (Home Movies) - Dressed to Kill - Blow Out - Scarface - Body Double - (Wise Guys) - The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito’s Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale - The Black Dahlia - (Redacted) - Passion (2012 film) - (Domino (2018 film))
© thevoid99 2013
Written and directed by John Cassavetes, Gloria is the story about a gangster’s ex-girlfriend who is protecting a boy who carries crucial information that can bring down the mob as she and the boy are in pursuit. The film is a simple story in which a woman is forced to protect a boy as she comes into conflict into either saving the boy or herself. Starring Gena Rowlands, Julie Carmen, Buck Henry, and John Adames. Gloria is a captivating suspense-drama from John Cassavetes.
The film revolves around this titular character (Gena Rowlands) who is asked by a woman and her husband to protect their son Phil (John Adames) as the husband is already in trouble for leaking information to the FBI as he works as a mob accountant. Though Gloria is a woman who has connections to the mob and was once the girlfriend of a famed gangster. She is reluctant to help take care of Phil as she wanted no involvement in the matter as the people who are going after the boy are her friends. Eventually, Gloria has to deal with various conflicts in her situation as she admittedly doesn’t like kids while she realizes that having this kid killed because of some money figures isn’t the honorable thing to do. Especially as this six-year old Puerto Rican kid is having a hard time understanding the situation as he isn’t sure what side to turn as he and Gloria have to stick together.
John Cassavetes’ screenplay doesn’t really do much to flesh out the plot by focusing more on a woman trying to protect a boy as well as deal with her loyalties to the mob. While the script is filled with dialogue that is intense and frenetic to showcase the tension between Gloria and Phil as the latter is already ravaged by the fact that he is in the care of a very tough woman. Gloria is someone who isn’t afraid to get shot as she always carries a gun and is always ready yet she doesn’t like the fact that she’s being put into a dangerous situation by taking care of a kid as she’s not really a very maternal person. Still, the fact that this kid is in danger because of his father’s actions makes Gloria realize that the mob are doing things that are really cruel where she eventually realizes what she must do for Phil. Though Phil has reservations about Gloria, he does realize that she’s the only person he has right now as the two have to work together to survive.
Cassavetes’ direction is quite intriguing in not just the way he maintains an air of realism in the drama but also in creating an air of suspense where Gloria and Phil are trapped in the middle of New York City and the borough of the Bronx. Cassavetes uses the city as a character in the film where it plays to the idea that Gloria and Phil have to go into places where they can’t hide or go into an area that is dangerous as they’re constantly on the run. Still, Cassavetes maintains that atmosphere where there is this air of uncertainty about the two being captured while taking its time to give the characters a breather as they get to know each other. Particularly as it plays to the idea that the boy needs a mother and the woman has to be there for that boy. By using some wide shots and other stylized moments to play out the element of suspense without getting into any kind of gory violence. Cassavetes creates a very engrossing yet mesmerizing suspense-drama about a woman protecting a boy from the mob.
Cinematographer Fred Schuler does fantastic work with the cinematography to maintain that sense of realism while using some low-key lighting schemes for some of the film‘s interior settings. Editor George C. Villasenor does brilliant work with the editing to create some rhythmic cuts to play out some of its suspenseful moments. Art director Rende D’Auriac and set decorator John Godfrey do terrific work with the set pieces from the secret apartment that Gloria lived in to some of the hotel rooms she and Phil hide out at.
Costume designer Peggy Farrell does wonderful work with the costumes in the way many of the suits the men wear in the film while Emanuel Ungaro creates more stylish clothing that Gloria wears. The sound work of Stan Gordon is superb for the atmosphere that is created including the smaller moments to help build up the suspense. The film’s music by Bill Conti is amazing for its soaring orchestral score that is mixed in with plaintive folk guitars and jazz arrangements to capture the atmosphere of New York City.
The casting by Vic Ramos is great as it features an interesting ensemble that features appearances from Tom Noonan as a henchman, Lawrence Tierney as a bartender, Basilio Franchina as Gloria’s former boyfriend in mob boss Tony Tanzini, Lupe Garnica as Phil’s grandmother, Jessica Castillo as Phil’s sister, Julie Carmen as Phil’s worried mother, and Buck Henry as Phil’s troubled father who puts the family in danger. John Adames is wonderful as the young Phil as a boy who has to endure the new reality he’s in as he is forced to grow up at a very young age and survive against the mob. Finally, there’s Gena Rowlands in a remarkable performance as the titular character as a woman conflicted in her loyalties to the mob while trying to protect a young boy as it’s a riveting performance that allows Rowlands to portray a character that is tough and not willing to back down no matter how grim the situation is.
Gloria is a marvelous film from John Cassavetes that features a brilliant leading performance from Gena Rowlands. While it is a film that is different from Cassavetes’ previous films in terms of a more tightened filmmaking style. It is still a film that is engaging especially as it’s a thriller that is engrossing over its situations and the drama that is presented. In the end, Gloria is a phenomenal film from John Cassavetes.
John Cassavetes Films: (Shadows (1959 film)) - (Too Late Blues) - (A Child is Waiting) - (Faces) - Husbands - (Minnie and Moskowitz) - A Woman Under the Influence - (The Killing of a Chinese Bookie) - (Opening Night) - Love Streams - (Big Trouble)
© thevoid99 2013
Written and directed by John Cassavetes, A Woman Under the Influence is the story about a woman’s life unraveling as she behaves erratically to the point that her family commits her for psychiatric treatment. The film is a look into the world of manic depression and a woman’s breakdown as it would have a great effect on her family. Starring Gena Rowlands, Peter Falk, and Fred Draper. A Woman Under the Influence is a harrowing yet mesmerizing film from John Cassavetes.
The film is the story about the wife of a blue-collar man whose eccentric behavior starts to take its toll on her family including her mother, her mother-in-law, her three kids, and her husband. Though this woman known as Mabel (Gena Rowlands) is someone who can be outgoing and also exciting, she’s also very troubled emotionally and mentally as she sometimes has no idea what’s going around her. At the same time, Mabel can be crazy around people as they are often freaked out as her husband Nick (Peter Falk) has to pick up the pieces and answer to people who have strange encounters with her. Nick also has to be there for their children yet he has very little clue of how to take care of them or deal with Mabel.
John Cassavetes’ screenplay takes its time to explore a woman who is troubled where there are no answers to what is happening to her. Is she drinking or just really mentally ill? Cassavetes doesn’t provide answers for that as he showcases the life of Mabel and Nick where they do love each other but they also can’t stand each other sometimes. Nick can be very angry to the point that he hits Mabel to calm her down while Mabel, in an erratic state, would see or do things that would make her go completely insane. The film’s first half is about Nick and Mabel’s relationship and Mabel’s own mental issues as it would intensify in the second act where Nick starts to lose control of his emotions as he takes it out on his friends. The third act is very poignant in not only for this long sequence that takes place six months later at their home but also as it’s focused on Mabel as she returns home from treatment.
Cassavetes’ direction is very engaging as he goes for a very realistic shooting style that recalls the idea of cinema verite where he shoots everything on location with some grainy film stock. There’s a looseness to the direction where there is an element of unpredictability but also a simmering tension that is happening as far as Mabel’s behavior is happening. Notably as Cassavetes uses a lot of hand-held cameras and unique compositions to capture the drama of a woman breaking down mentally as there are things where it is very confrontational in some of the action. Particularly in a scene during the second act where Mabel starts to act out emotionally and mentally as if she’s about to be committed. The direction also has these very chilling moments in the drama such as a scene where Mabel throws a party for her children and their friends that is a bit disturbing at times because of her very lively and erratic behavior as if she is acting like a child while a man is watching.
It would intensify when Nick and his mother return home where it would lead to some emotional blow-out. Yet, that sequence would be tamed in comparison to the film’s final sequence when Mabel returns home from treatment only to be at home with her family where there’s that sense of simmering tension happening. Notably as the camera is gazing on Mabel as she could either breakdown or something else is happening while Nick is sitting next to her as the person sitting across from her is her father. It is all about who should be there for Mabel and its aftermath where it raises many questions into whether she will ever be all right or not. Overall, Cassavetes creates a visceral yet unsettling film on depression from the perspective of a woman.
Cinematographers Mitch Breit and Al Ruban do excellent work with the photography where it doesn‘t play into any particular visual style in favor of realism with a bit of grain in some of its interior and exterior settings including for the scenes at night. Editors David Armstrong, Sheila Viseltear, and Tom Cornwell do superb work with the editing by utilizing rhythmic cuts to capture some of the intensity of the drama. Art director Phedon Papamichael does nice work with the look of the home Nick and Mabel live in that is quite quaint but also filled with some strange things. The sound work and music score of Bo Harwood is wonderful for the realism in the sound as well as Harwood’s jazz-inspired score led by pianos along with some classical and opera pieces for the film’s music soundtrack that Mabel loves.
The film’s cast is brilliant as it features appearances from Fred Draper and Lady Rowlands as Mabel’s parents, Katherine Cassavetes as Nick’s mother, O.G. Dunn as a man Mabel meets in the bar early in the film, Mario Gallo as the father of a group of kids at the party Mabel throws, Eddie Shaw as Mabel’s psychiatrist Dr. Zapp, and as Nick and Mabel’s children, there’s Matthew Laborteaux, Matthew Cassel, and Christina Grisanti as the kids who are forces to watch a family drama unfold in front of them.
Peter Falk is amazing as Nick as a blue-collar man who loves his wife but has a hard time trying to deal with her issues as he means well but can often get very angry where he will do things that are terrible. Finally, there’s Gena Rowlands in a magnificent performance as Mabel as a housewife who is coming undone by her mental and emotional issues. There’s moments where Rowlands can be very wild and lively while the sequence where she returns home show a woman on the verge of falling apart as it’s truly a performance for the ages.
A Woman Under the Influence is an outstanding film from John Cassavetes that features tremendous performances from Gena Rowlands and Peter Falk. The film is definitely a realistic portrait into the look of mental illness and depression as well as how it can effect those who are closest to that person. It’s also a film that doesn’t play to any kind of conventional dramatics in favor of something that is more engaging where it can also be unsettling to watch. In the end, A Woman Under the Influence is a phenomenal film from John Cassavetes.
John Cassavetes Films: (Shadows (1959 film)) - (Too Late Blues) - (A Child is Waiting) - (Faces) - Husbands - (Minnie and Moskowitz) - (The Killing of a Chinese Bookie) - (Opening Night) - Gloria (1980 film) - Love Streams - (Big Trouble)
© thevoid99 2013
Based on the novel by Ira Levin, Rosemary’s Baby is the story about a pregnant woman who moves into a new apartment with her husband only to believe that her eccentric neighbors are part of the occult who want her baby for a sacrifice. Written for the screen and directed by Roman Polanski, the film marks Polanski’s second part of a trilogy set in apartment as it explore a woman dealing with her new surroundings as well as her fears in the occult. Starring Mia Farrow, John Cassavetes, Ruth Gordon, Maurice Evans, Sidney Blackmer, Charles Grodin, and Ralph Bellamy. Rosemary’s Baby is a harrowing yet mesmerizing film from Roman Polanski.
Rosemary Woodward (Mia Farrow) and her actor-husband Guy (John Cassavetes) search for a place to live in New York City as they go to a prestigious apartment building as they finally selected it at their new home. At their new apartment, Guy leaves to find work as an actor while Rosemary stays home taking charge of the renovation as she wonders about some of the mysterious things that is happening including the suicide of a young woman she had just met named Terry Gionoffrio (Victoria Veltri). Rosemary and Guy later meet their elderly neighbors in Minnie and Roman Castevet (Ruth Gordon and Sidney Blackmer) as Guy enjoys their company though Rosemary is a bit wary despite their friendly nature. After some time together with the Castevets in which Minnie gives Rosemary a necklace that she claims is good luck, Rosemary isn’t sure as she is keen on having a child with Guy.
After Guy gets a part for a play after an actor got blinded, he and Rosemary celebrate where Minnie makes them chocolate mousse cups where Rosemary suddenly felt ill and later has a strange dream. Days later, Rosemary becomes pregnant as she is overjoyed by the news as Guy tells the Castevets the news as they suggest that Rosemary go to Dr. Abraham Sapirstein (Ralph Bellamy) to handle the pregnancy. Rosemary takes some drinks for the first few months as the instructions she’s given has made her ill as her friend Hutch (Maurice Evans) becomes concerned as he wants to have a meeting with Rosemary. On the day of their supposed meeting, Hutch never shows up as Rosemary learns he became ill as her pain starts to get to her until it suddenly goes away.
With the baby nearing its due date, Rosemary thinks nothing goes wrong until she heard that Hutch had died. At Hutch’s funeral, his wife (Hanna Landy) gives Rosemary a book about witchcraft where Rosemary realizes that something isn’t right. Turning to her original doctor in Dr. Hill (Charles Grodin) for help, Rosemary believes that it all has to do with some form of cult that is happening and Guy has become part of it. Yet, she gets into more trouble as many believe she’s become delusional as she wonders what to do to save her baby.
What happens to a young woman who finds herself in a strange surrounding with her husband as she believes that the occult are living nearby her as she becomes pregnant and worry about her child? That’s the idea of what the film is about as it reveals into a lot of heavy themes about faith and motherhood. Particularly in a period when people began to believe that faith and religion is dwindling due to social and cultural changes that was happening as the film is set in 1965 and 1966. At the center of this story is this woman who is eager to have a baby with her husband in the hopes to create a great life for herself and her husband. Yet, things become complicated due to the ambitions of her husband and the eccentric elderly neighbors that she meet who would change the course of her life.
Roman Polanski’s screenplay definitely plays to a conventional structure in terms of what is expected in a thriller and suspense film. Yet, Polanski chooses to focus more on Rosemary’s plight as she is dealing with her new surroundings as the incident of a woman’s suicide is the first serious encounter of something off about her new surroundings. The first act is about Rosemary in her new surroundings and meeting these strange people including Dr. Sapirstein. The second act is about Rosemary’s complications with her pregnancy and her suspicions being raised about what is happening to her.
The third act is about not just the death of a friend but Rosemary becoming more curious about the deaths of people around her as well as the world of witchcraft as it turns into a very serious horror film. Not just a psychological horror film but also a horror film that deals with the ideas of the occult and witchcraft where it could be in Rosemary’s mind but also a reflection of a world losing touch with God. This would lead to Rosemary going into a journey where she would make some very chilling discoveries about the kind of people that her husband has associated with.
Polanski’s direction is very stylish in the way he presents the film not just as a suspense-drama but also a film that plays up into the world of reality and surrealism. From the intimate setting he makes in many of the film’s scenes at the apartment where Polanski creates a world where Rosemary seems to make something of her own but her outside surroundings and the people such as the Castavets and Dr. Sapirstein who come into her world. Suddenly, her surroundings become corrupted by while she also becomes intrigued by the history of her apartment building as an early scene in the film where she and Guy are given a tour where she and Guy notice a huge cabinet is blocking something.
The direction is much more loose with hand-held cameras for scenes outside of the building as it is set largely in New York City where it plays to the sense of terror that is happening where Rosemary can seemingly be lost. There’s also an array of surreal montages and dream sequences that occur where Polanski creates a world that is out of the ordinary. Polanski also focuses his camera on certain objects that help tell the story as well as books that would help guide Rosemary into uncovering the world of the occult. Even as it leads to a very shocking ending that really becomes a revelation of not just what Rosemary went through but also a turning point in which the world definitely loses its grip on faith. Overall, Polanski creates a very haunting yet exotic film that explores a woman’s struggle to maintain her faith while dealing with the dark forces around her.
Cinematographer William A. Fraker does excellent work with the colorful cinematography to create dazzling colors for some of the film‘s interior setting to set a mood for the scenes while creating more straightforward shots for the exterior scenes. Editors Sam O’Steen and Bob Wyman do brilliant work with the editing to play up the suspense as well as creating some stylish montages for the film‘s dream sequences. Production designer Richard Sylbert, along with set decorator Robert Nelson and art director Joel Schiller, does amazing work with the set pieces such as the apartment that Rosemary and Guy live in to parts of the apartment itself which is played by the famous Dakota building.
Costume designer Anthea Sylbert does wonderful work with the costumes from the 60s style dresses that Rosemary wears to the more eccentric clothing of Minnie. Hair stylist Sherry Wilson and makeup artist Sherry Wilson does nice work with the look of Minnie to display her eccentric personality while Farrow’s pixie haircut was designed by Sydney Guilaroff and Vidal Sassoon. Sound recorder Harold Lewis does terrific work with the sound to help set a mood in some of the more chilling scenes as well as the intimate moments in the film. The film’s music by Krzystof Komeda is superb for its mixture of low-key orchestral pieces and piano tracks to more eerie pieces that adds to the film’s horror. Also included in the film is Ludwig Van Beethoven’s Fur Elise that adds to the dramatic tone of the film.
The film’s ensemble cast is phenomenal as it features some noteworthy small performances from producer William Castle as a man standing outside a phone booth, Tony Curtis as the voice of an actor Guy was competing with, Elisha Cook Jr. as the apartment manager who shows Guy and Rosemary the place, Hanna Landy as Hutch’s wife, Emmaline Henry as Rosemary’s friend Elise, Victoria Veltri as a tenant Rosemary meets in Terry Gionoffrio, and Patsy Kelly as a quirky friend of Minnie in Laura-Louise. Charles Grodin is very good as Dr. Hill who is bewildered by Rosemary’s claims while Maurice Evans is superb as Rosemary’s longtime friend Hutch who is curious about what Rosemary is dealing with where he would later give her clues to these problems.
Ralph Bellamy is wonderful as the very mysterious Dr. Abraham Sapirstein who tries to instill his ideas into Rosemary that leads to many questions. Sidney Blackmer is great as the enigmatic Roman Castevet who befriends Guy while ensuring Rosemary that things will be fine. Ruth Gordon is brilliant as the very lively Minnie Castevet who exudes all sorts of charm and wit to a woman that is very mysterious but also full of life. John Cassavetes is amazing as Guy Woodhouse who has a sense of enthusiasm and drive as well as someone who is hoping that Rosemary stick to the plan as he becomes more disturbing due to this time with the Castevets. Finally, there’s Mia Farrow in a terrifying yet powerful performance as Rosemary Woodhouse as this young, naïve woman who has dreams of having a perfect life only for dark surroundings to haunt her. Farrow also displays an intensity to a woman on the verge of trying to hold on to her faith in a world where faith is on the way out as it’s definitely one of Farrow’s great performances.
Rosemary’s Baby is a ominous yet thrilling film from Roman Polanski that features an outstanding performance from Mia Farrow. The film isn’t just one of Polanski’s great films but also a horror film that still manages to be unsettling and creepy. It’s also a very intriguing film that explores the world of faith and how it seems to lose touch in the world leading to darkness to emerge. In the end, Rosemary’s Baby is an incredible film from Roman Polanski.
Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac - The Fearless Vampire Killers - Macbeth (1971 film) - (What?) - Chinatown - The Tenant - Tess - (Pirates (1986 film)) - Frantic - Bitter Moon - Death and the Maiden - The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) - (Based on a True Story) - (An Officer and a Spy) - (The Palace)
© thevoid99 2012
