SERENITY (2005)


SERENITY: THE UNTOLD STORY (2005)

Written and Directed by: Joss Whedon

Starring: Nathan Fillion, Gina Torres, Alan Tudyk, Morena Baccarin, Adam Baldwin, Jewel Staite, Sean Maher, Summer Glau, Ron Glass, Chiwetel Ejiofor, David Krumholtz,

After a long night of hard work, well, let's just call it a night of self-imposed penance playing Halo 2 on heroic mode, I finally brought myself to write this short but splenda review of the much needed saviors of sci-fi, “Serenity.” “Serenity” is the latest project by Joss Whedon, or should I say, the man behind your favorite vampire slaying series “Buffy,” and “Angel,” featuring my fiancees favorite vampire hottie David Boreanaz (Whedon also wrote “Alien 4” and “Toy Story.”)

I know that I'm supposed to be reviewing “Serenity” but it's a little hard to review the movie without talking about its origins. About two or three months ago I stumbled upon the series “Firefly,” best described as a new take on an old formula i.e. Space + Great Writing = Sweet Sci-Fi Utopia. After fast-forwarding through the horrible theme song (Sorry Joss and Lily) you will find a wonderful surprise: a sci-fi show filled with witty humor, outer-space action, sexy mechanic fantasies and gun slinging heroes. If this doesn't make you want to run to your computer and Netflix the show then you'd better check your pulse.

This brings us to “Serenity,” the name given to our vehicle of adventure in honor of one of the biggest massacres in a war for independence from the Alliance. Our story begins just after one of Serenity's mysterious passengers, River (Summer Glau), is ready to reveal to us a world of torture, violence and government secrets, compliments of the Alliance. Our fearless crew takes us on a journey into a hidden world that will change the course of the war. On the run from the Operative (Chiwetel Ejiofor), a perfect killer that will destroy everything in his path to keep River from revealing her secrets, the Serenity crew must face their biggest fears and make the ultimate sacrifice in a desperate battle against a hellish nightmare created by the Reavers.

Taking place months, or possibly years, after we last left the crew in “Firefly,” we discover how old bonds still hold strong and true, that love remains strong even galaxies far, far away and that hope begins with just a little bit of faith. Combining great battle scenes, explosive special effects, non-stop adventure and a superbly written script, “Serenity” takes viewers into the world of Mal, Zoe, Wash, Inara, Jayne, Kaylee, Simon, River, and Shepherd and marks an end to a chapter in “Firefly” but also marks a new beginning with 'Serenity.'

A must see on everybody's list, (sci-fi lover or not); here's your chance to see just how good a sci-fi film can really be. Eat your heart out, George Lucas.

- Juan Marcos Percy, Importer/Exporter

GOOD NIGHT, AND GOOD LUCK (2005)


Directed by: George Clooney
Written by: George Clooney and Grant Heslov
Starring: David Strathairn, Robert Downey Jr., Patricia Clarkson, Ray Wise, Frank Langella, Jeff Daniels, George Clooney, Tate Donovan, Reed Diamond.


If you've ever taken a journalism course or have even a passing interest in the history of journalism then chances are you've heard the name Edward R. Murrow. Murrow's name is synonymous with the phrase 'journalistic integrity' and his famous "This instrument can teach, it can illuminate; yes, and it can even inspire, but it can do so only to the extent that humans are determined to use it to those ends. Otherwise it is merely wires and lights in a box" is forever engrained in my mind, as well as in the minds of many others (this quote even ends the film).

Which is why it comes as no surprise that George Clooney would choose to make a film about Murrow, a man that he, and his father Nick Clooney, a former television newscaster, admire deeply. What is surprising however is just how good the film is, the relevance that it contains, and the distinct parallels that can be drawn from Murrow's age to ours.

Clooney chose to direct the film in black and white because all of the footage of Murrow that he remembered seeing growing up was as such and he wanted the viewer to get a sense of this as well. The choice was a bold one considering today's movie going audience and yet it was without a doubt the right one. It adds a depth and sense of realism to what you are seeing on-screen that would have been lost had the film been shot in color. Archived footage of Joseph McCarthy fits perfectly alongside footage of the superb David Strathairn as Murrow; you never question for a second what is real and what is not.

The cast that Clooney has assembled for the film is nothing short of remarkable. Strathairn, who has long been a favorite leading man of mine, is pitch-perfect as Murrow. His voice, his delivery, his very being; if he doesn't get an Oscar nomination for his performance I would be very shocked.

Robert Downey Jr. and Patricia Clarkson also shine in the film and George Clooney, as producer Fred Friendly, is a natural in a role (and an era) that he was born to play. It is a testament to who Clooney is, both as an actor and a person that he was able to get this film made without compromising neither his vision nor integrity. You will walk out of "Good Night, and Good Luck" with a new found appreciation for our nation's journalistic history and Edward R. Murrow's courage and integrity, but most of all, you will walk out of the film muttering four simple words: God Bless George Clooney.

- Lily Percy, Editor

THE 40 YEAR OLD VIRGIN (2005)


Directed by: Judd Apatow
Written by: Judd Apatow and Steve Carell
Starring: Steve Carell, Catherine Keener, Paul Rudd, Seth Rogan, Romany Malco



Leave it to Judd Apatow, the man behind the brilliant cult classic “Freaks and Geeks” to bring us the first 'gross-out' comedy in years with a gentle beating heart.

“The 40 year old Virgin” tells the story of Andy Stitzer, played with sincerity and charm by the hilarious Steve Carell, who works at an electronics store, collects action figures, and also happens to be a virgin at the age of 40 due to some unsettling (and rightfully traumatizing) sexual mishaps in his youth.

The premise alone garners a laugh but what really makes this film remarkable lies in its genuine and heartfelt honesty. Much like Sam Weir, who carried all of our unifying high school shame in “Freaks and Geeks,” Andy is a reflection of our deepest insecurities and feelings of inadequacy coming to a head. I found myself laughing and crying hysterically all throughout the film, relating to Andy in ways that I would never have expected. Who would have thought that this summer's most successful comedy would also turn out to be one of the year's best films.

- Lily Percy, Editor

DVD'S:

Star Wars: Episode III – Revenge of the Sith (2005)

Written and Directed by: George Lucas

Starring: Ewan McGregor, Natalie Portman, Hayden Christensen, Ian McDiarmid, Samuel L. Jackson, Jimmy Smits, Frank Oz, Anthony Daniels, Christopher Lee

Well, after careful consideration, I have decided to erase the first two Star Wars films, The Phantom Menace (1999) and Attack of the Clones (2002), from my memory and pretend instead that Episode 3: Revenge of the Sith (2005) is where it all began. Let’s just say that the first two attempts were just a spin-off, kind of like the Ewok movie Ewoks (1985).

Unfortunately, one thing still applies to all three episodes: in order to be satisfied with the new trilogy one has to return to a much simpler time (I think regressing to an 8 year old should do) when dialogue and story did not matter nearly as much as the amount of explosions and vivid scenery a director could pack in 2 hours. And yet, as crazy as it may sound, I enjoyed Revenge of the Sith.

Be prepared to feel somewhat confused however since Lucas has spread this ‘new’ story thin with very little plot (sound familiar?) but the special effects and the good old fashion romanticism of the original Star Wars kicks in an hour into the movie making it all worth while. Now that we have established the new sequence of episodes (i.e. forget episodes one and two), we can proceed to the conclusion of the Lucas saga. I will try not to reveal too many of its obvious secrets.

In the words of Yoda, ‘the story a fan I am of’:  In the midst of a rescue mission to save the Supreme Chancellor Palpatine from the Separatist droid armies, Jedi Knights Obi-Wan Kenobi (Ewan McGregor) and Anakin Skywalker (Hayden Christensen) are once again thrown together in a war of fates that is inevitable. After easily defeating Count Dooku (Christopher Lee), the Jedi warriors return home as heroes. But fear, hatred, jealousy and power are growing inside of Anakin and his recurring visions of his secret wife, Padme Amidala (Natalie Portman), dying in childbirth are driving him to do ‘whatever it takes’ to save her.

Meanwhile, Obi-Wan Kenobi has been sent by the Jedi council to find and kill General Grievous on Utapau, thus ending the war against the separatist droid armies. Anakin is left on the capital planet of Coruscant to face the Dark side and choose once and for all the path that will turn him into Lord Darth Vader. The lines are finally drawn and we see the beginning of the end for the Jedi warriors. From this point on everything goes sour for everyone. The dark Sith Lord sets into motion the destruction of the Jedi Council, Anakin falls for the Dark Side, Obi-Wan defeats General Grievous but is confronted with the new fate of the Jedi. The stage is set for the final decisive battle between master and apprentice.

Who will win? Who will go home a bit charred, missing their lower torso? Oh, the tension!

On a happier note, Luke and Leia Skywalker are born. Unfortunately, their mother dies and they are separated at birth to be raised by different families on different worlds. But hey, that’s the gloomy world of the Republic for you.

Despite what you’ve read or heard, you should definitely check out Revenge of the Sith. It’s not quite up to par with the next three episodes but it sure beats the last two. So here’s to the force…

Juan Marcos Percy - Importer/Exporter

CATWOMAN (A DISCUSSION) November 13, 2005 6:55 PM

Chris: We should watch it again, so we can talk about it.

Lily: I don’t want to have to watch it again.

(Pause)

So let’s talk about Catwoman. Thoughts?

Rick: Oh. My. God.

Gilliane: Did Nicholas Sparks write Catwoman?

Lily: The fact that this movie was directed by someone named Pitof should have clued us in on the horror…

Jeanne: Catwoman rocks. (Sarcastically) The only reason to watch it is the basketball scene; Halle Berry’s ass is awesome. My only question is, why do you need to CGI a cat?

Gilliane: There’s no answer to that. Cause you really don’t.

Jeanne: Hey, if we buy four sandwiches we get one free at Randazzo’s.

(Laughter)

Gilliane: Any more comments, Chris? On Catwoman. Rick, any last thoughts on Catwoman?

Rick: Any ounce of respect that I once had for Halle Berry has completely disappeared. And I am shamed. For her and her family. Benjamin Bratt should have realized that no one else was taking it seriously. So he shouldn’t have. Taking it up the ass. Taken it seriously up the ass.

Lily: Anyone else? I HATE CHRIS. *

Chris: Catwoman was my favorite movie, ever. That’s all.

(End of discussion)

* Chris would like it noted that there are a lot of intermittent comments and remarks missing from the above-transcribed discussion. Lily would like it noted that Chris is an ass.

“Birth”

Directed by: Jonathan Glazer
Written by: Jean - Claude Carriere and Milo Addica
Starring: Nicole Kidman, Cameron Bright, Danny Huston, Anne Heche

10-year-old boy comes into your home, telling you that he is your dead husband. He knows things about you and the relationship with your spouse that no one could know. Is it a hoax? Are you going crazy? Or what if it's true, what if this is possible and the child standing in front of you is actually your long lost love? These are the questions Nicole Kidman's character, Anna, finds herself asking in the film “Birth”.

Yes, there's the creepy bathtub scene. Let's get over it though. Why? Because it's supposed to be creepy. Of course it is. It's creepy that this kid is reliving memories of someone else's past that he's coming in between Anna & her fiancée, played by Danny Huston.

The film definitely brings to mind the classic “Rosemary's Baby”- and not just because of Kidman's haircut. I'd also like to name check one of my least favorite directors and say that “Birth” is even Kubrickian, right from the opening scene. There's a slow pace, a lot of silent moments that might make your typical A.D.D. moviegoer averse to watching the film, particularly a scene that takes place during a symphony.

I personally don't think that Kidman was given due recognition for this film but I promise you this: In the future, whenever a tribute is being made to her and they show the “Nicole's Greatest Hits” montage? The symphony scene will appear in every one of them. I think in time people will come to see Anna as one of her most amazing roles.

Cameron Bright, who plays young Sean, does an amazing job of being a spookily mature soul one moment and a 10-year-old boy the next. The film honestly would not have worked with a lesser actor in his part. Huston is the perfect choice to play Anna's fiancée, who doesn't take the kid seriously at first, only to find himself growing jealous of Anna's strange, strong connection with Sean. Anne Heche appears in the movie as well, giving one of her best performances ever. It's sad when an actor's off-screen reputation makes you forget how talented they are. Heche's Clara is a key figure in the story and every scene she's in is outstanding. I honestly can't say enough about the movie. It's a story that hasn't been told before. Or if it has then it's never been told quite like this.

Rick Sayre, Pop Culture Junkie

“FIREFLY: THE SERIES”


Remember when you saw “Star Wars” for the first time? The way that it seemed to jump right off of the screen, the way that it ignited you with a newfound sense of adventure and wonder? The way that Han Solo epitomized the anti-hero, his cynicism and witty one-liners coupled with a desire to kick ass left us awestruck. That's what watching “Firefly: The Series” is like.

Part Han Solo, part Indiana Jones, Captain Mal “Tightpants” Reynolds, played with effortless charm by Nathan Fillion, who, by the way, is our generation's answer to the aforementioned anti-heroes, leads a crew of eight aboard his beloved ship, Serenity, into the deepest realms of outer space.

The show could best be categorized, as a “space western” and I'd be hard pressed to find another one of its kind. Joss Whedon purposefully wanted his series to meld both worlds, peppering his scripts with an arcane vernacular that showcases Mandarin, among other 'Goram' things, and contractions that would have driven your English teacher mad with both delicate ease and finesse.

These are all just a few of the things that make “Firefly” unforgettable. I could go on for hours about Shepherd Book, played with graceful simplicity by Ron Glass, or the wonder of Wash and Zoe, Alan Tudyk and Gina Torres respectively, but in the end what makes “Firefly” really stand out lies in its journey, in the stories and adventures that Whedon takes us on, and the combination of smart, funny and touching writing and acting that unfolds on-screen.

When the fourteenth episode came around I couldn't quite believe that my time aboard Serenity had somehow come to a close. I have always been a fan of 'good sci-fi' and “Firefly” epitomizes that phrase brilliantly. I can only hope that with the success of “Serenity” and the rabid acclaim and love that the show itself has received, that Fox will recognize the disservice that it imposed upon all of us when it stupidly cancelled “Firefly” in 2002 by bringing it back to us now.

The crew of Serenity deserves another chance to blow us all out of the water, and after all, to quote the Captain himself, “[it is] much too pretty to die.”

- Lily Percy, Editor

BOOKS:

Three Incestuous Sisters - Audrey Niffenegger

After being mesmerized by her deeply romantic debut novel, The Time Traveler’s Wife, I became an avowed follower of author Audrey Niffenegger. Which is why I was so incredibly excited to discover the publication of another book by her. It’s called Three Incestuous Sisters and is being referred to as “a visual novel.” This is to distinguish it from graphic novels, a distinction that ought to be made. Niffenegger’s book is closer to a children’s picture book as far as the format goes, text on one page, art on the opposite side.

However, as you may have deduced from the title, Three Incestuous Sisters is not a children’s picture book. It’s the story of sisterhood, love, jealousy, maternity, revenge, with a bit of in utero telepathy thrown in for good measure. If you cried while mumbling, “it’s so beautiful!” as you read The Time Traveler’s Wife (I did), you’ll find yourself in familiar territory here. I expected the book to frustrate me and make me even more impatient for Niffenegger’s next novel. And it did. But I was also very satisfied when I closed the book.

It’s beautiful. It’s sad. They don’t sleep together.

- Rick Sayre, Pop-Culture Junkie

MUSIC:

Syleena Johnson - "Chapter 3: The Flesh"

The ladies of R&B/Soul sure have been doing it up this year. Patti LaBelle, Mariah Carey, Jill Scott, Fantasia, Alicia Keys, Destiny's Child, Faith Evans, Vivian Green, Leela James, Lina, Jaguar Wright, Amerie, and Keyshia Cole. Add one more name to that list - Syleena Johnson.

"Chapter 3: The Flesh" may very well be Syleena Johnson's best album to date. It's a superb blend of old school soul, hip-hop soul and neo-soul; it's soul for every occasion. "The Flesh" finds Johnson in her sexiest and most adventurous mood yet - musically, vocally, and lyrically. But she keeps it tasteful on tracks like "Phone Sex" and "Slowly." There's no raunch-fest here.

Fans will also be happy to know that her voice (a gritty, sexy, soulful, and emotional instrument) remains at the center of attention. Standouts include the funky, celebratory "He Makes Me Say," an infectious duet with R.Kelly entitled "Special Occasion," and a rousing duet with Anthony Hamilton entitled, "More." Their voices, completely drenched in old school soul music (and gospel), meld beautifully together. Other notable tracks include "Time," "Apartment For Rent" and "Only A Woman."

"The Flesh" also features several collaborations. Many of which are in sequential order. Besides those already mentioned, there's "Bulls-Eye (Suddenly)" with Common, "Classic Love Song" with Jermaine Dupri, and "Phone Sex" with Twista.

Johnson has successfully brought old school soul sensibilities into a contemporary soul environment. Plus, being the daughter of legendary Soul/Blues artist Syl Johnson, she just can't help herself. I'm sure with this latest effort she's done her father and her predecessors proud. Now let's see if the acclaim will result in great, long-overdue commercial success.

~ Markell Williams, Music Critic

FIONA APPLE - "EXTRAORDINARY MACHINE"


FIONA FREED

For those who have been living in a proverbial planet situated thousands of miles from the alt-rock universe, here is the scoop on Fiona Apple's highly anticipated third album. Better yet, here's a highly abridged version of her journey toward building her Extraordinary Machine: girl-loses-boyfriend, girl-takes-antidepressants, girl-embraces-asceticism, girl-records-album, Sony-shelves-album, girl-meets-Mike-Elizondo, and the rest is history.

Actually, the rest is an album whose songs have been rearranged and re-recorded since the purported shelving debacle prompted the online release of earlier track cuts produced by Jon Brion. Word on the sonic street is that Apple eschewed Brion's electro-chamber arrangements in favor of Elizondo's more straight-ahead, rhythmic production. In fact, it is quite fun to listen to and compare both the leaked cuts and the album proper (not that I recommend anyone give up a Friday night romp to bask in Fionaness…although what you do during your nights off is none of my business anyway).

What you'll find is that Elizondo's rhythm section packs the emotional thump needed to drive the post-breakup “I'm doin' fine and I don't need you” lyrics that make up most of the album and effectively steers the music throughout several temporal changes that oftentimes occur within the same song. “Tymps” rams a steady clapping groove seemingly straight out of Andre 3000's arsenal, while “Window” culminates in the rapture of a jazzy horn section.

But as tight as the drums and programming sound, Brion's own wall-of-sound is missing. Few can deny the appeal and intimacy of Brion's masterworks, which were on full display in Apple's sophomore album, the gorgeous When the Pawn. Brion's interpretations tend to be meditative, languid, and even vulnerable, complete with muted horn parts, bells, synth-harpsichords, pizzicato strings, and carefully placed electronic beeps. This is evident in “Extraordinary Machine” and “Waltz,” his two contributions to the album.

Nevertheless, Apple makes it all work, whether she staccatos through effusive rhythms (“I'm a frightened, fickle person; Fighting, crying, kicking, cursing”) or saunters over a pretty piano melody (“Oh you silly, stupid pastime of mine/You were always good for a rhyme.”) At times, her fast-paced phrasing is so syncopated it borders on scatting. What you'll also find is Apple's smart lyrics wrought from the anguish and confusion of a love gone wrong, this time specifically aimed at her failed relationship with Paul Thomas Anderson. “I miss that stupid ape,” she contemplates in “Not About Love,” while a few verses later she channels Beck, rapping “But I'm not being fair; Cause I chose to listen to that filthy mouth.” Her signature trills accentuate her brazen statements (“Better that I break the window/Than him, or her, or me”) and still a carefully placed vibrato in her voice evokes the melancholy of her many-times-broken heart (“A voice once stentorian is now again meek and muffled.”) Still, this devastation is not enough to keep her from chanting “I'm gonna get him back” manically as the piano, keyboards and moog bass intertwine in one discordant, upsetting mess.

So what exactly ends up discovered when the disc stops turning (or the MP3's stop playing, for that frugal audience that will burn the album rather than buy it)? It's clear that she hasn't really evolved, which could be a positive thing, since the material is still damn good. Maybe it's the mere fact that, whether she likes it or not, she has once again wrested the title of sultry siren (take that, Rachael Yamagata!).

- Edwin Burgos, Famous International Playboy

STEPHEN FRETWELL - "MAGPIE"


One of the greatest feelings in the world is discovering a new artist, buying their CD and playing that one song, that song that has been spinning around in your head for weeks (and that you've been silently humming) on an endless joyful loop. “Emily” is that song and Stephen Fretwell is the artist currently occupying my musical universe.

Fretwell is 23 yrs. old, English, and way ahead of his years, as pretentious and overused as that may sound. 2004's “Magpie” marked his major label debut and the comparisons to Dylan promptly came pouring in. But unlike Connor Oberst, Fretwell actually lives up to the reputation.

Songs such as “What's that you say little girl?” and “Brother” have all of the makings of the great Dylan songs of the 60s, and “New York,” Fretwell's latest single, is haunting, powerful and ultimately unforgettable, and it contains all of the winning characteristics that made nearly every Dylan song of that period memorable. It is sparse and naked in all of the right ways and sounds like it could very well have been the b-side to Damien Rice's “Blower's Daughter.”

And yet, even with the all of the obvious Dylan tributes, the songs on “Magpie” sound fresh and original. As soon as the album ends you want to listen to it all over again. And that is a welcome change.

There are a lot of 23 yr. olds out there currently vying for the hallowed Dylan title, and with the influx of over indulgent pop criticism being thrown around these days the confusion is certainly understandable, but Stephen Fretwell is the first artist of the heralded group who actually has something worthy to say.

- Lily Percy, Editor

Babyface - "Grown & Sexy"


Those who purchased Babyface's 2001 release "Face 2 Face" may have been a little surprised. "Face 2 Face" was a major departure from his signature sound. This was his most contemporary and funkiest album to date. However, those missing his signature sound will be very pleased with the new release "Grown & Sexy." "Grown & Sexy" is a record of mainly mid-tempo, sensual grooves. These songs are smooth, tender and endearing. On "Good to be In Love" Face encourages us to appreciate and celebrate the love that we have in our lives. On "Love, Drama & 'Lationships," he advises us to be strong throughout the many ups and downs in relationships. "Sorry For The Stupid Things" is a tender plea, asking his loved one to forgive the many mistakes he's made. Many longing for his guitar driven songs will be pleased with songs such as "Mad, Sexy, Cool," "Goin Outta Business," and "God Must Love You" to name a few.

Unlike his last effort, "Grown & Sexy" features very few of today's hottest producers. This is mostly an in-house record. Face shares producing duties on several tracks with Pagani and two tracks with The Underdogs. Face also shares co-writing credits on six tracks with old writing and producing pal, Daryl Simmons. One of the album's crown achievements is the closing track "She's International." On this track, Face proves that he doesn't need the hottest producers around to have a hypnotic, funky, upbeat track.

Those disappointed with his last release may feel that Face has redeemed himself with "Grown & Sexy." Whether this is the case or not, Face has delivered a consistent album of love songs. It's nice to know that in today's market there's still someplace to turn to for passionate, sensual, heartfelt love songs. Face proves that you can be grown and sexy without being raunchy and tasteless.

~ Markell Williams, Music Critic

SPOTLIGHT:

JOHN CASSAVETES 1929 - 1989

“Extraordinary people look at something and see three things,” says Peter Falk. “The average person, he only sees one. John could see ten.” Falk and Cassavetes sat in the audience for an early screening of “Husbands,” which was mainly for producers, distributors and investors. The screening went very well, and the version of the film was very funny. The audience had obviously enjoyed the picture. However, this version was one that Cassavetes had never intended to release. It was simply an early cut, put together by two editors who specialized in light comedy. But, that's not what Cassavetes wanted the picture to be. He felt it wasn't saying anything and was merely an entertaining two hours, nothing more. When the picture ended, Cassavetes leaned towards Falk and quietly said, “Remember this version, because you'll never see it again.” Cassavetes then proceeded to spend the next few months reviewing a mind-boggling million and a half feet of film (roughly two hundred eighty hours of footage). He rearranged scenes, changed events and storylines through the editing, and experimented wherever he could. At one point, Cassavetes had done at least five different versions of the film and only for the simple reason that he saw five different movies that could be made, and it would be an interesting experience to discover which film would be the best one. This is how John Cassavetes was.

In 1959, decades before Quentin Tarantino, Robert Rodriguez, Kevin Smith, Abel Ferrara, Spike Lee and Martin Scorsese, John Cassavetes made what is widely considered to be the first American independent film, “Shadows.” It began as an improvisation in an acting class, run by Cassavetes himself. He found the characters and the situations of the exercise so fascinating that he decided to make it into a film. Though the film itself was not entirely improvised for the camera, it was billed as having been so; this would later prove to be one of the key reasons for the common misconception that all of Cassavetes films were improvisational.

Despite the fact that most of his pictures were very carefully scripted they do have the feeling of improvisation. This is mainly because John Cassavetes was interested in honesty. In telling a story truthfully, refusing to manipulate the audience or set them up for anything. Whoever the people in his films were and however they felt would dictate the actions. He was interested in people, their feelings and emotions, their needs, their concerns and what, who or how they love. “He was attracted to man's need for love,” Peter Falk remembers. “We need it like food, water and air, but we don't know how to get it. But that's our struggle… and that interested him.” It is this fascination with human beings' search of love, in any form, that drives Cassavetes' films. Whether it is love for another person, trying to love one's self, or trying to find the lost love in a marriage, Cassavetes is relentless, and sometimes painful, in his constant pursuit.

“I won't call my filmmaking entertainment. It's asking questions of people - constantly. What part of life are we interested in knowing more about? I have a need for the characters to really analyze love - discuss it, kill it, destroy it, hurt each other. Do all the stuff in that war - in that word polemic and film polemic of what life is. I have a one-track mind. That's all I'm interested in: love - and the lack of it.”

- John Cassavetes

In his first film “Shadows,” Cassavetes explores all facets of humanity. He allows his characters to work through their problems and discuss them, and then move on to the next problem. It's an honesty that most cannot, or prefer not to, deal with. But for many, it was a groundbreaking reality that opened exciting, new possibilities in film. “Unlike a lot of the other films my friends and I saw at the time, 'Shadows' was so strong I only needed to see it once,” says Martin Scorsese. “It had a sense of truth and honesty between its characters that was shocking. And since it was made with a 16mm camera, there were no more excuses for aspiring directors who were afraid of high costs and cumbersome equipment.”

Cassavetes invested his own money from his acting jobs to pay the necessary costs for his production. “Shadows” took the art house cinema world by storm and garnered him a lot of attention. That led him to Hollywood and a couple of studio produced pictures. One of these pictures was “A Child is Waiting” (1963). It was a film that dealt with mentally retarded children and the caring of them. The movie was produced by Stanley Kramer and he and Cassavetes disagreed on how the story should be treated. Cassavetes recalled their conflicting opinions when he stated, “The philosophy of [Kramer's] film was that retarded children are separate and alone and therefore should be in institutions with others of their kind. My film said that these children could be anywhere, anytime.”

After Cassavetes learned that Kramer was re-editing the film behind his back, the producer would ultimately release his own version of the picture, Cassavetes vowed never to work within the Hollywood studio system again. He would instead continue his interest in dissecting and studying love, relationships, communication and real people with “Faces” (1968). The picture deals heavily with the subject of marriage, and the things that cause a marriage to disintegrate. In taking an honest look at the perspectives of both men and women, Cassavetes made a film that asks questions about marriage and fidelity, and pulls no punches. It is a raw, brutally truthful examination of the problems a marriage can face that go unresolved or even ignored.

“Making films means having an idea that you have to talk about and not knowing what it is that disturbs you, so that it's an adventure all the way… The whole idea to me and to the people that I work with is to find some kind of personal truth, some kind of revelation.”

- John Cassavetes.

Often in Cassavetes' films there are moments of great surprise. A character will take a certain action that genuinely moves you, partly because it's unconventional and you'd never seen anything like it in film, and partly because you've made a strange realization about humanity that you never bothered to look at before. Sean Penn says, “In any John Cassavetes movie, I think every three or four minutes there's some lightning bolt of reality.” In “Faces,” there's an exceptional scene in which a woman in her fifties, played by Dorothy Gulliver, openly puts herself out there, completely willing to make a fool of herself in order to have the chance to sleep with a considerably younger man. The idea that a woman past middle age would need to be desired is a notion seldom explored in films, then and now.

“I'm very concerned about the depiction of women on the screen. It has gotten worse than ever. It's related to their being either high or low-class concubines. And the only question is when or where they will go to bed, and with whom or how many. There's nothing to do with the dreams of women or of woman as the dream - nothing to do with the quirky part of her… the wonder of her.”

- John Cassavetes

John Cassavetes was often revered as a filmmaker who wrote women particularly well. This is probably because he didn't discriminate when it came to his characters. He approached his female characters with as much honesty, as much integrity, and as much enthusiasm as he did the male characters. In what many consider to be his masterpiece if not, certainly, one of his finest works, “A Woman Under the Influence,” Cassavetes once again explores the nature of love and relationships. In this film, Cassavetes' exceptionally brilliant wife, Gena Rowlands, plays a suburban housewife who seems to be going mad. Though the character of Mabel Longhetti appears to be, on the surface, a little bit crazy, Cassavetes' film actually questions whether it's her or the people in her life who are crazy. Ben Gazzara observed, “John is always looking for the weakness in the supposedly strong person or the strength in the supposedly weak person.” The one truth that is definitely revealed in the picture is that Mabel and her husband can deal with whatever their problems are because of that primary emotion that Cassavetes continuously explored: Love.

“I just think… You look at John's films and you know they're fiction, but you know you're not being lied to. He was the real goods. And you just feel it looking at his pictures. And I think that fascinates people.” - Gena Rowlands

When John Cassavetes lost his battle with liver disease on February 3, 1989 at the age of fifty-nine, he left behind an exceptional collection of work that shattered convention by asking tough questions of real people, exploring their innermost emotions while, in the process, teaching them the importance of love.

“It's a very dangerous territory to be in where you can only make a film if your grosses reflect a large gross. I've been making films for twenty-five years and none of them has really made a lot of money. But there's nobody in the world who can tell me we didn't succeed. And that's the greatest feeling that I've ever had in my life.”

- John Cassavetes

- David Sayre, Independent Filmmaker/Essayist

“Without individual creative expression, we are left with a medium of irrelevant fantasies that can add nothing but slim diversion to an already diversified world. The answer cannot be left in the hands of the money men, for their desire to accumulate material success is probably the reason they entered into filmmaking in the first place. The answer must come from the artist himself.”

- John Cassavetes



Feature Films as director:

“Shadows” (1959)

“Too Late Blues” (1961)

“A Child is Waiting” (1963)

“Faces” (1968)

“Husbands” (1970)

“Minnie & Moskowitz” (1971)

“A Woman Under the Influence” (1974)

“The Killing of a Chinese Bookie” (1976)

“Opening Night” (1977)

“Gloria” (1980)

“Love Streams” (1984)

“Big Trouble” (1985)