Shadows

What is there to say about an anti-establishment film that was produced in a time of such colourless void, social indifference and authoritarian contentment. Cassevettes first major independent film was not an instant box office success and still has not received the critical attention it deserves. I draw comparisons to this wave of American independent projects consisting of such 'Beat' filmmakers as Robert Frank and Harry Smith with the burgeoning scene emerging in Paris in the late 1950's known as the French new wave.

They discussed poetry and philosophy and vulnerability at a time when the rest of the culture was obsessed with rediscovering American cultural supremacy; even at this stage this peculiar, highly spontaneous brand of filmmaking fought against the establishment of such political lexicons and bigots that held the development of the arts in check in the mid twentieth century.

Cassevettes film examines race relations and portrays man as weak in the face of love because we, as a culture, are blinded by our own race bias and prejudice. The great element to most of Cassevettes work is that his films have almost a reversal minimalist effect; a mental reaction is evoked through subtle character relations, not so much imagery. This is why his work seems to linger because he takes a more intimate approach to defining charcters that rely less heavily on explicit actions and more upon interpretation.

Although my favourite Cassevettes film is 'Husbands', this one is his most important.

This is the 3rd Cassavetes film I've watched and by far the most riveting -- and I can't tell you why. I realize there's a "debate" about it being improv. or not - but it doesn't matter. There is more honesty in this film (racial and otherwise) than in many others with far higher budgets. I was mesmerized thru the whole thing. New York in the early 60's is a sight to behold, but it's only the perfect backdrop to this film. It's the kind of art that you realize can only be done once. And this was it. The scenes at the MET with the Henry Moore sculptures and others underscored this for me. The movie was made once. The "score" was perfection. There can be no sequel, thank God. This is why film is considered an art form.

Shot on a minimal budget of $40,000 with a skeleton six person crew, SHADOWS offers an observation of the tensions and lives of three siblings in an African-American family in which two of the three siblings, Ben (Ben Carruthers) and Lelia (Lelia Goldoni), are light-skinned and able to pass for white. Cassavetes demanded that the actors retain their real names to reflect the actual conflicts within the group but saw the film as being concerned with human problems as opposed imply to racial ones. Cassavetes shot the film in ten minute takes and jagged editing, a reaction against 'seamless' Hollywood production values. Cassavetes main inspiration - at least in the cinematic style the film was shot - were the Italian neo-realists whilst also professing admiration for Welles' pioneering spirit. The use of amateurs and improvisation might resemble some of the Italian neo-realist directors, but with his bebop score by Charles Mingus ans Shafi Hadi, the film feels very different, very American, unlike anything made before really.

The song with the feathered girls, "I feel like a lolly-pop" (or something) feels like light years back to me, ancient history. But no matter how dated it might look, it still makes a delightful time capsule of late Fifties New York today. I think it's this is one of the first films made aspiring filmmakers realize they could shoot an independent film, without Hollywood, improvised and without a real budget. Seymour Cassel, who acted and was involved in SHADOWS, claims it was Jules Dassin's THE NAKED CITY (1948) that was the first and inspired them all, but I think this was the one that really opened the eyes of aspiring independent American filmmakers.

Camera Obscura --- 8/10

Shadows breathes the smell of New York's streets like no film before it. This kick off of Cassavetes' directorial work is as atmospheric as political and the initial spark for a renewal in American cinema.

Maybe it solicits for watching Cassavetes' first work in a double feature with another debut, Godard's À bout de soufflé. Both films shaped the cinematic production of their countries beyond decades and both breathe a peculiar lightness and jauntiness which was later rarely achieved by those filmmakers in their career.

Shadows tells from three Afro-American siblings, Ben (Ben Carruthers), Lelia (Lelia Goldoni) and Hugh (Hugh Hurd). The story is set in the New York jazz milieu and the driving rhythms on the soundtrack play a main part for the feverish, sometimes almost dreamlike atmosphere which draws through the entire film. There's not much happening in the plot. The everyday life of the three siblings is defined by problems in love relationship or in their jobs, but on both levels normality deceives. Without moralizing gestus, Cassavetes simply describes the mechanism of racial exclusion, in public and in private life. It was, regarding to the cinematic depiction of racism, a breakthrough film in the US.

This film owes also a lot to the performances of the three leading actors which were all almost completely unknown before. Especially Ben Carruthers established with his energetic portrayal the image of a new self-conception of young, urban blacks in America, an image which characterizes Spike Lee's films of the 80s and 90s. Revealingly, none of those three doubtlessly extremely talented actors was able to start a big career afterwards. Hollywood wasn't and isn't ready to ethnically expand its star system, and that is why Goldoni, Hurd and Carruthers only found small artistic niches in TV and independent films later on.

Perhaps Shadows is one of the less "beautiful" films ever shot, and one of the most beautiful ones at the same time; a film of shades and spaces, with a camera that merely watches the stream of life in the crowded street corners, bars, hotel lobbies, apartments, inducing an intriguing ramble through New York's vibrant streets.

1959 was a landmark in the world of film. Several great directors of the classic era were releasing career capping classics that ranked among their best. Just a look at the titles is instructive, Hitchcock's North By Northwest, Billy Wilder's Some Like It Hot, Howard Hawks' Rio Bravo, Douglas Sirk's Imitation of Life. Add a couple from the previous year, Orson Welles' Touch of Evil, Hitch's Vertigo, and Nick Ray's Wind Across the Everglades, and you've got a pretty good summing up of what was possible within the classic Hollywood style.

At the same time, two films appeared that hinted at a whole new way of making films. One was Jean-Luc Godard's Breathless, the other was John Cassavetes Shadows. The two films had certain things in common, largely improvised acting by non stars, handheld cameras, low budgets, and a certain youthful, jazzy swagger. In certain ways, though, they couldn't be farther apart. Godard was still a believer in the director as arbiter of style. He knew more about film than most Hollywood producers, and Breathless was filled with the iconography of the classic crime film. Cassavetes, on the other hand, was an actor, and a refugee from New York's underground theater scene. His first film shows him little impressed with the cinema, and a big believer in actors. Godard's film constantly references it's own artifice, whereas Shadows aims for a certain kind of naturalism.

It doesn't reach it, mainly because naturalism is a myth, particularly in cinema. But it feels powerful, kinetic but lilting like the cool jazz on the score, certainly the main inspiration for the filmmaking style on display here. It ultimately doesn't hold together, mainly because Cassavetes' actors here are amateurish beatniks, where Cassavetes style requires strong, imaginative actors. His later work with Gena Rowlands, Ben Gazarra, and Peter Falk blows this out of the water. Due to the director's technical inexperience, some bits of dialogue had to be redubbed later, which defeats the freshness of the improvisation. Still it's fascinating to watch, both for the great moments (like the scene where Leila Goldoni talks about her dissapointment with losing her virginity) and to watch a groundbreaking artist finding his way.