Thing is, it’s just one of the most beautiful films, definitely up with Sunrise and Lucky Star.

The city girl’s hair reminds me of the question-mark on the head of a guy in Sweetie, only in this case, hopefully unintentional, her forehead reads “666″

Chuck Farrell is his usual winning, unmemorable-looking self. I wasn’t sure about Mary Duncan in The River – she seemed a little one-note – but she’s wonderful here and extremely different from her River character. Seems like she could’ve gone further than Farrell’s usual sweet-faced co-star Janet Gaynor in the acting business, but Duncan retired in ‘33, five years before Gaynor.

Murnau’s second-to-last film before Tabu. Murnau wanted to title it Our Daily Bread, and had scenes and scenery in mind which the studio denied him. The movie came out in a now-lost sound version and in a version similar to this – not sure exactly how similar, or how much is known about its history, but the booklet with the Masters of Cinema DVD would probably explain some things. Production-designed by Edgar Ulmer, and based on a stage play with a funny title which everyone online mentions as if it’s still important.

-
Murnau dwarfs the family, hunched at bottom of the frame when father first enters. The little girl, Anne Shirley, had been in pictures since she was four, would be oscar-nominated for Stella Dallas seven years after this.

The workers, L-R:
- Guinn “Big Boy” Williams of Lucky Star, here a pretty good guy with a pretty small part
- creepy-looking Jack Pennick of every John Ford film, whose only role here is to look creepy
- baddie Richard Alexander, who kept busy playing tough-guy extras for the next 30 years

Father: David Torrence is best known, well, for having a more famous brother. Ernest Torrence had some major silent roles (Steamboat Bill Sr., Captain Hook), played Moriarty in an early sound Sherlock Holmes the year before he died. David was in some Michael Curtiz films, anyway.

A Danks:

City Girl’s bond to Sunrise is one of its most fascinating elements. In its opening movements it is as if the film evokes a key plot element of Sunrise (an innocent country boy, Lem (Charles Farrell), is approached by a “vamp” on a train ride to the city) only to then diverge from and invert it (he immediately rejects her). As in Sunrise, the city is presented as a dynamic entity defined by and constructed around movement and a curious modernity; but it also projects a subtle desperation and palpably melancholy quality new to Murnau’s cinema. It is also the home of Kate (May Duncan), the “city girl” of the title who longs for a romantically idealised country life and who subsequently emerges as one of the strongest and most clear-eyed female characters in American silent cinema (presenting a clear reversal of the moral universe – and characters – of Sunrise). It is through Kate that we experience the continuity of the city and country in City Girl, the archetypes of perception and oppression, and the parallel social structures and prejudices that fuel both worlds.

Everybody mentions Days of Heaven as a comparison, and Danks throws in The Wind.

Buy from Amazon:
Murnau, Borzage and Fox DVD set
City Girl blu-ray (Masters of Cinema UK)

Eva Axén went from working with Visconti in classy period pieces to getting stabbed, thrown through windows and hung by Argento:

Eva up there escapes from a prestigious dancing school, goes to stay with a friend, and is dramatically killed (along with the friend) by an unseen evil which cares little for logic or reasonable dialogue, only for the picturesque posed deaths of young women.

Our heroine in the middle is Jessica Harper (Phantom of the Paradise, Pennies From Heaven). At left is Stefania Casini, an older sister in Blood For Dracula.

New student Suzy picks up the narrative from there, discovering right off the bat that her school is creepy but not figuring until the end that it’s a front for a coven of witches run by a hundreds-year-old evil mother.

The Mother Of… something:

One thing the movie’s got going for it: casting Udo Kier. But it loses points for casting Udo Kier in a tiny, talky role, essentially letting everyone BUT Udo Kier overact. Bad call. Maybe Kier was busy in Fassbinder’s The Stationmaster’s Wife at the time.

While Suzy has fainting spells, deals with a plague of maggots falling from the ceiling, and talks with Udo Kier and some professor (Rudolf Schündler, actor since the 30’s and director in the 50’s and 60’s, also in The Exorcist and Wenders’ Kings of the Road and The American Friend) about historical nonsense, more deaths occur. Her friend Stefania Casini is murdered by the unseen hand in a similar over-the-top manner to the first death (barbed wire, razor stabbing, nails through the eyes). And the blind pianist is kicked out of school and walks through the abandoned square at night. The music warms up, the lighting declares the buildings to be a threat, and suddenly a stone gargoyle comes alive and flies overhead… but in the end, he’s simply killed by his guide dog.

Blind Daniel (Flavio Bucci of Il Divo) getting kicked out of school by mistress Alida Valli (star of Eyes Without a Face, Senso, Il Grido, The Third Man, played a caretaker in Inferno)

Joan Bennett (30+ years after Scarlet Street), in her final film role, has got some wicked wallpaper.

Amazing cinematography by Luciano Tovoli (from Antonioni to Argento to Barbet Schroeder to Titus), who shines red and blue colored lights on simply everything. The dubbing is mostly good, and I liked the pumping Goblin music surprisingly well. I dig when Goblin sings along quietly with a sinister “la la la.”

Argento’s debut seven years prior was titled The Bird with the Crystal Plumage.

Both movies consist of beautifully shot sketches of memories. Distant Voices (the first half) was actually made as its own movie – about three siblings growing up under their father Pete Postlethwaite’s wrath. It was deemed too short to release, so the second part, Still Lives, was written and shot after – now father is dead from cancer and the kids are grown, moving out on their own and getting married. Episodes are shown in random-associative order, all superbly shot. Lots and lots of singing – movie is basically a musical… “takes a worried man to sing a worried song”… “in the bleak midwinter”… “there’s a man coming round taking names”… “when irish eyes are smiling”… tons more, all sung by the cast in bars, on the street or at home.

It was Pete Postlethwait’s breakout year – he was in two other reasonably big films. Davies in the DVD commentary: “It’s hard to believe that one man could’ve caused so much suffering and that all these years later I would make a film about it.”

Mom, Tony, (dad), Eileen and Maisie

Eileen (center) was in Aki Kaurismaki’s I Hired a Contract Killer. On left is a friend – loud, outspoken Mickey (good singer, too).

Married life doesn’t always work out… old friend Jingles looks upset.

Davies is annoyed that viewers thought the Christmas scenes gave sympathy to the father. He says his father deserves no sympathy. Seems from the commentary like everything actually happened in his life as we see it. Creative liberties are taken, of course… fewer siblings keeps things easier to follow, events and timelines are shuffled, but the movie is a mining of his real life. Reactions from family members to the film were mixed.

Davies also has a wonderful voice on the commentary. I could listen to him all day. If he did EVERY dvd commentary, people might actually listen to the things. After watching the movie I assumed influence by Alain Resnais, but he says the structure is influenced mainly by T.S. Eliot’s Four Quartets.

Won a whole pile of awards, including at Cannes and Toronto, but lost the European Film Awards to Kieslowski and Wenders, oh well.

The Long Day Closes is the same kind of thing, but in a shorter timespan and focusing on one kid (young Terence Davies, or “Bud”), his relationship with mother, home life, church and school. Still plenty of singing, though not as much as the other film, and now punctuated by audio clips from classic movies (the kid is happiest at the cinema). Subjective shots through his eyes, memory adding a dreamlike quality to certain scenes, rain and snow are so constant that sometimes they occur indoors.

Exquisite between-scene transitions… this is halfway through one of ‘em.

I’d say there’s less story here than in the other movie, more impressionistic. I don’t usually love nostalgic childhood reminiscence movies, but that’s because most aren’t as gorgeous as this one.

By the time I got to the DVD commentary I’d already heard the one from DV,SL so I took it for granted that everything in Long Day Closes refers to a specific, sharply remembered incident in Davies’ real childhood. Liberties are taken, of course, like how the Christmas dinner table here seems to be out on the street.

Son Johannes was supposed to be a religion scholar, but he had a terrible time with Kierkegaard and lost his damned mind, now walks the house claiming to be Jesus Christ when he isn’t wandering the countryside lost.

Youngest son (right) Anders wants to marry the daughter of Peter Petersen (left), leader of the town prayer group, but he’s disallowed because of the two older men’s religious feud.

When Inger’s pregnancy is suddenly in trouble, Peter wishes her death.
His wish is granted.

Johannes reappears mid-funeral during a reconciliation of the two stubborn men, who put aside their differences of belief so their children can be together. In front of the men, the kids, the doctor and Inger’s atheist husband Mikkel, Jesus-Johannes raises Inger from the dead.

Movie is set in 1925, so only the doctor has a car. Moves rather slow, glad I had some coffee in me. Didn’t seem like my thing for a while – flashbacks to Gertrud, a movie I didn’t get – but an hour later I’ve gotta admit it’s one of the most beautiful works of cinema ever made. Just look at these fucking stills. I’m sure there’s more reading I could do, tons and tons of articles written about it, but I’m gonna skip ‘em and let it stand for itself right now.

This is an episode of a German cop show from 1970 which is still running. I can’t imagine why an American director was allowed to write and direct a German TV episode in English… we’d certainly never invite Werner Herzog to shoot an all-German episode of Law & Order. The producer must’ve been a Naked Kiss fan. Anyway, it’s over 90 minutes long and there’s no indication of regular characters or a running plot or a teaser for next week’s episode, so I’m not sure what format this cop show takes… this played like a standalone film in TV picture-ratio.

I enjoyed the movie quite a lot. It’s technically excellent at times, but when time or budget didn’t allow for excellence they played it loose and fun. Acting isn’t so strong – Christa (Sam’s wife) overdoes it at times, and lead man Sandy (Glenn Corbett of The Crimson Kimono) is generically TV-crappy. I wouldn’t call the incidental music by “The” Can amazing, but has its moments. Fuller (or whoever) gets points for hiring the ultra-hip Can in the first place. The double-agent spy story is pretty cool, but the way it’s pulled off visually is beyond cool. Check it:

How our hero is introduced – he’s the dude in the middle, and that’s his murdered partner on the table:

How Christa is introduced, walking past a giant poster of Frank… this movie is very clued-in musically:

Some Citizen Kane hole-in-the-floor cinematography:

Fuller is having fun with this movie. They watch Rio Bravo, there are characters named Novak and Bogdanovich, and Fuller cameos offscreen as The Senator with a framed picture of Nixon on the wall and a novel by one Samuel Fuller prominently placed on the desk.

And then there’s this guy, with the fantastic name of Charlie Umlaut. I’m not sure what his deal is – I think he might’ve killed our cop’s partner, then at the end he shows up in a parade in clownface, screaming his own name until he’s caught and killed. Whatever it meant, it certainly livened up the picture.

Very nice cinematography of German cities (Bonn, Cologne) by Jerzy Lipman, who shot early Wajda films and Knife in the Water.

Oh right, the plot. Christa works for fey evil rich guy Mensur. She drugs famous people, poses with them in lewd positions, then blackmails them with the photos. Sandy, our cop, shows up far-fetchedly claiming to be in the same business and happening to pick Christa to perform the same job she does for Mensur. Eventually she’s in on his plot and supposedly helping him, but it all gets twisted up, and in the end he’s challenged to a hilariously unconvincing fencing duel in Mensur’s office, which Mensur inexplicably loses.

Mensur, top, is Anton Diffring (of Tusk and Fahrenheit 451).

Christa:

Christa:

Christa!

Leslie Cheung is in all the framing-device scenes, probably the single star of the movie. Easily recognized throughout by the mustache. Moved out to the desert to forget his true love, Maggie Cheung, who got tired of waiting for him and married his brother. Sort of a swordsman matchmaker – hooks up would-be killers with people who need somebody killed. One day will be called Malicious West.

Seen him in: Farewell My Concubine, The Chinese Feast
Still need to see: A Chinese Ghost Story, A Better Tomorrow

Tony Leung Ka Fai, or “Tony 2″ – old friend of Leslie’s, comes around once a year. This time he brings a wine of forgetfulness for Leslie to drink, but ends up drinking it himself. Visited Maggie Cheung once a year, gave her an update on Leslie. A ladies man, I think he’s in love with Carina Lau. Will later be known as Evil East.

Seen him in: Dumplings
Still need to see: Election, The Lover

Maggie Cheung – object of affection of the above men. She gives the wine to Tony 2 to be given to her ex, Leslie, in hopes that Leslie will forget her. Dies of an illness before most of the movie takes place, but we don’t find that out till the end.

Seen her in: Irma Vep, In The Mood For Love
Still need to see: Comrades, Centre Stage

Brigitte Lin – crazy woman who comes around as a “man” trying to hire a killer for Tony 2, then comes back as herself trying to hire a killer for her “brother”. She fights and almost kills ex-flame Tony 2 herself at one point, maybe when she first met him, then later becomes obsessed with him. Finally goes off into the desert practicing sword skills on her reflection.

Seen her in: Chungking Express, Royal Tramp 2
Still need to see: Bride With White Hair, Swordsman 2, Police Story

Tony Leung Chiu Wai (“Tony 1″) – former best friend of Tony 2, is quickly going blind. Needs one last high-paying job so he can afford to go home and see “the peach blossoms” (see below) before his vision fades completely. Hires on to protect a nearby town from bandits, but the bandits take too long to show up, he loses more of his sight, and he dies in the battle when clouds darken the sky. Perfect role for Tony 1, the saddest of all actors.

Seen him in: 2046, Infernal Affairs
Still need to see: Cyclo, City of Sadness

Carina Lau – beloved of Tony 1, named Peach Blossom. Mostly crouches in flashback looking awesome… has hardly any lines. She fell in love with Tony 2 years ago, which is why Tony 1 is alone and sad.

Seen her in: 2046 (she’s Lulu/Mimi), Flowers of Shanghai
Still need to see: Curiosity Killed The Cat, Intimates

Charlie Yeung – poor girl who wants to hire a swordsman to avenge her brother’s death at the hands of the militia with some eggs and a mule. Leslie and Tony 1 turn her down, and Tony breaks her eggs.

Seen her in: Seven Swords, Fallen Angels
Still need to see: Butterfly Lovers

Jacky Cheung – dirty, barefoot, badass swordsman. Leslie hooks him up, gives business and strategy advice. Jacky is well paid for defeating the bandits, and also takes on the militia in exchange for Charlie’s egg (but almost dies). Rides off with his wife (not Charlie) in the end. One day to be known as the Northern Beggar, will fight a doubly-fatal duel with Leslie years later.

Seen him in: Once Upon a Time in China, As Tears Go By
Still need to see: Bullet in the Head

Movie is an imagined prequel to popular novel “Eagle Shooting Heroes.” All the cast members also appear in film The Eagle Shooting Heroes, a parody dir. by Jeffrey Lau, with supposed participation by Wong and Sammo Hung. Will have to see to believe. Edit: Found it, watched in between Ashes and Redux, reviewed here, still not sure if I quite believe it! Other filmed versions of Eagle Shooting Heroes all seem to be TV series, although Royal Tramp and the Swordsman series are based on other books by the same author.

Screenshots above are from a scrappy foreign DVD (still not half as scrappy as the American disc looked), then a week later I ran out and watched Ashes Redux on lovely new 35mm (minus the topmost and leftmost 5% of the picture – thanks, Landmark). I am not considering these two separate movies, of course. Don’t know why the IMDB has a new page for Redux – they don’t have five different pages for The New World. Besides being able to see what’s going on and properly appreciate the glorious cinematography, Redux straightens out the plot threads at the start and end, the bits about the memory wine, Tony 2, Leslie and Maggie. It also cuts out a whole fight scene, the one that the original drops the viewer into at the beginning without explaining a damned thing. I miss that fight scene – it was awesome, and one of my favorite shots of the video was in it: a black-eyed, wild-haired Tony 2 giving a monstrous, slow-mo, silent scream.

I did understand everything better while watching Redux – but is that because Wong re-edited, or because I’d spent the week before studying the movie? I don’t think of myself as the type who champions straightforward stories over complex mood pieces, but Redux does probably work better. Movie leads up to this grand emotional moment of Maggie crying over her lost Leslie, talking about her failure to spend the best years of her life next to the person she loves most, and if you didn’t couldn’t make sense of the wild first ten minutes of the film, that’s not going to hit very hard. I’m apparently only good at summarizing plot and character, which, as I said three pages ago, isn’t what makes the movie. The desert, the mountains, the spinning birdcage, the haze, eclipses, sudden swordfights, and endless stories of lost love all add up to a pure and excellent film. I’m not saying it’s my favorite – most of Wong’s films are excellent – but it’s up there.

Writes T. Brogan on the film vs. novel:

The original plot actually dealt with two characters nicknamed “Evil East” and “Wicked West”, aged, respected and feared demi-gods in the pugilistic world. Arch rivals, their tussle for power was the backdrop against which Cha’s main protagonists (a pair of lovers from the entire trilogy series) were tested in terms of their wits, loyalty and love for one another. In Wong’s film, however, the hands of time have been turned back, and the focus is primarily on the two men, now portrayed in their prime, and seeks to “explain” the beginnings of their bitter feud in a progressive manner.

Wong:

Basically the film is about emotions. It’s a love story about Dongxie [Tony 2], Xidu [Leslie] and a woman, spanning half a life time. Certain emotions are eternal. When I got to the film’s ending I finally realized what Ashes of Time is about, and its relationship with my previous films. They are all about refusal and the fear of refusal. Everyone in Days of Being Wild has been refused. They become afraid of being refused, so they refuse other people before other people have a chance to refuse them. It’s the same in Chungking Express. But I think I have changed, so the film has an open ending. Tony Leung and Faye Wong don’t really know where they stand with each other, but they know they can accept each other. Ashes is most deadly. It sums up the three previous films. How do you go on with your life after you’ve been refused, and you’re afraid of being refused to begin with? So [Brigitte] Lin Chin Hsia becomes schizophrenic, Tony [1] resorts to the most destructive method to solve his problems; Leslie Cheung hides in the desert; Tony [2] drinks himself to amnesia. The only exception is Hong Qi [Jacky]. He doesn’t think being refused is a big deal. He just goes ahead to do what he thinks is the right thing.

Norah Jones is dumped by her boyfriend, leaves her keys at the cafe for him in the hands of Jude Law. Talks to JL every night over blueberry pie, starts to like him, one night she takes “the long way” across the street to his cafe and goes on a year-long trip across the country, getting waitressing and bartending jobs, saving up for a car and writing poor Jude Law lots of postcards but never giving a return address.

First major stop is in a Memphis bar where cop David Strathairn (Good Luck and Good Night, Mother Night) pines for his separated wife Rachel Weisz (The Fountain) and drinks and drinks. Violence escalates, he dies in a car crash, Rachel is sad and Norah is outta there. Then somewhere in Nevada, a casino where Norah gives all her money to Natalie Portman with NP’s nice car as collateral. NP tries to teach a convoluted lesson about mistrust by faking that she lost all the money, giving up her car and having Norah drive them both to Vegas to see NP’s dying (oops, dead) father, but the lesson doesn’t come off very well.

With both of her extended stays in foreign cities and attempts to make new friends having ended in death and sadness, Norah comes home to NYC, where Jude has decided to let go of his ex-girlfriend Cat Power (on account of her being an unconvincing actress in her only scene) and the two are free to fall in love in their own distinctive way (bonding over security-cam videos, eating too much pie, Norah falling asleep and Jude kissing her without permission). A sweet ending.

So the story is kinda muddled, though the characters are all pretty strong (if a bit unbelievable and cliched) but the movie flows more or less like a WKW film, with slow-motion and emotional edit/flashbacks, a dreamy pop soundtrack (Ry Cooder, Otis Redding, “The Greatest” played three times, and a touch of Yumeji’s theme when Jude first falls for Norah). Strong colors, close-ups without establishing shots, the camera like a hazy memory lingering behind glass and slowly creeping behind obstructions, but focus always sharp. Glad I was warned not to expect too much, but I ended up liking it a whole lot.

It’d be almost Antonioni-esque without the voiceover. Hardly anything actually happens, but Adrien always keeps us filled in on what he’s thinking. I considered disliking the movie for a while, a movie about idle rich young artists having self-conscious affairs, but it turns out Adrien and Haydée aren’t rich (only idle and leeching off their rich friend) and never manage to have an affair. I ended up liking it.

Buff 30ish Adrien comes to the beach to take his “first vacation in ten years” prior to an art opening, hopes to sit around with buddy Daniel and do absolutely nothing, not even think (they read so they don’t have to think). 21-yr-old Haydée is also at the house sleeping with a different guy every night. We don’t get much insight into Daniel – he’s the third wheel here – but Adrien and Haydée are both trying to find themselves, define their own moral codes, playing off each other and never quite getting together. At the end, Adrien pulls a standard Moral Tales move. Chances are good that he’s got Haydée for the night, but he leaves her in the middle of the road, deciding that sleeping with her would be against his character, and books a flight for London to see the girl he’s with (briefly) at the start of the film.

Leisurely-paced movie, but never slow or dull. Differently structured than the other films, with a few-minute prologue for each character before the main section of the movie begins. Rohmer and his cameraman would be happy to just stare at Haydée all day – her entire prologue is shots of her barely-clad body. Apparently that’s what defines her character.

Have I mentioned that it is in color? Guess that’s another good reason to watch it fourth instead of third. Nice, rich color, too. Much of the look is in the bleached grays and browns and blues of the beach and the plain interior of their villa, so what colors we get in clothing and city life and an antique vase all stand out. Adrien and Daniel wear some hilarious clothes throughout (see above). Must be a 60’s artist thing.

Adrien was Patrick Bauchau, had a smallish part in Suzanne’s Career, later in American stuff like The Rapture and Panic Room. Haydée was Haydée Politoff, immediately turned to Spanish and Italian horror movies, had a small part in Love in the Afternoon, and mostly quit acting after that. Daniel was Daniel Pommereulle, appeared in Godard’s Weekend the same year, then two by Philippe Garrel.

from V. Canby’s NYT review:

Much of the comedy in “La Collectionneuse,” as in Rohmer’s later films, is provided by the otherwise aware hero’s elegant self-deceptions about his own motives, followed by his dimly seen perceptions of what could be another truth. In this context, it is a momentous event (and, comparatively speaking, momentously funny) when Adrien begins to have doubts about the affair of Haydée and Daniel. “I couldn’t be sure,” he tells himself with complete seriousness, “that their complicity was entirely for my benefit.”

There is a certain chilliness and lack of spontaneity to all of the performances, especially Bauchau’s, which, I suspect, has as much to do with the tiny scope of the film as to the actor’s talents. “My Night at Maud’s” and “Claire’s Knee” suggest living worlds outside the films’ rarefied milieus, whereas “La Collectionneuse” exists in splendid, arrogant isolation. Adrien is tiresome. Daniel is enigmatic, and Haydée is sweet, and great to look at, but, after a while, sadly commonplace.

A note of interest to local film buffs: the Seymour Hertzberg who is listed in the credits (he plays Sam, the American art collector whom Adrien solicits), is the nom d’écran of Eugene Archer, a former New York Times film reviewer who, I’m told, has absolutely no intention of acting again. He is an excellent reviewer.

“Seymour Hertzberg”:

From P. Lopate’s Criterion essay:

Haydée is not the most articulate young woman, though she says just enough to cast doubt on the men’s interpretations. There will be other Rohmer films that take us deep into the psyches of women; this one does not, but it gives us a very daring, precise portrait of the misogynistic, entitled, self-loathing psyches of men. And unlike, say, most Woody Allen movies, it does not let the rationalizing male character off the hook. Rohmer explicitly warned us, in an interview: “You should never think of me as an apologist for my male character, even (or especially) when he is being his own apologist. On the contrary, the men in my films are not meant to be particularly sympathetic characters.”

From an appreciation in The Guardian:

Drama, for Rohmer, is made up of a number of frequently small incidents which culminate in an inevitable denouement. There are many kinds of film-making but Rohmer’s would be very difficult to beat within the confines of his chosen metier.

A Modern Coed, 1966

“People used to say girls went to college only to land a husband. Though today’s coed might find a husband, she isn’t necessarily looking.”

Just a short doc to tell the world that there are female college students, and some of them even study science. Its main reason to exist today is to document mid-60’s Paris hairstyles. Narrated by Vidal from Maud’s.

Foreground: our coed. Background: a cat with a hat in a box.

Rohmer on La Collectionneuse in 1977:
“It’s the only film I made that followed the era’s fashion. Audiences loved the new fashions, the long hair, the blue jeans. Then there was Haydée, whom audiences adored. Marcel Carné signed her for his next film right after that.”

He speaks proudly of a conversation scene in the 1976’s The Marquise of O, calling it “tiresome and static” but saying nobody else would have dared film it as written.

“This is a problem that concerns me. In the past, I was drawn by the way people spoke. I’m deeply interested in language. Currently, I find a kind of sloppiness has crept into the French language and I don’t like it very much. I like colloquial language, but today, especially as it’s used in intellectual circles, I find little of interest in it. … That said, I also believe characters in film should speak naturally. I’m getting around this currently by shooting films set in the past. When I return to contemporary films, I don’t know what my position will be. Perhaps by then language will have evolved further. Today’s spoken language is so extremely impoverished that it doesn’t inspire me. You find the same dialogue in every film now.”

Cassavetes’ second canonical film after 1959’s Shadows, although he directed some others in between and co-wrote Too Late Blues.

Film looks terrific, all blown-up grainy b/w, sometimes a nice long take to let an actor’s piece play out, but it seems less like an improv than Shadows was. Wouldn’t mind reading up on Cassavetes to see how the film was conceived and constructed.

In short: Richard and Maria are rich, bored, and have no sex life, so Richard leaves her for Jeannie and Maria has an affair with Chet the same night, but they end up at home together, not exactly reconciled, but maybe resigned. Ruminations on love, sex, fidelity, aging, and being too obsessed with yourself and your wealth to have a real human relationship.

Supremely non-entertaining, an honest and hurtful film, one of the best I’ve seen.

Some faces: