The Beat generation espoused a rejection of mainstream American values, and John Cassavetes's Shadows feels like a relic from that movement.
Shadows (1959)
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Reviews Counted:14
Fresh:14
Rotten:0
Average Rating:7.6/10
Runtime: 87 mins
Genre: Dramas
Synopsis: When actor John Cassavetes, frustrated with the lack of reality in movies in the late 1950s, decided to direct his own low-budget film, a new form of cinema was born. Defined as "an improvisation"... When actor John Cassavetes, frustrated with the lack of reality in movies in the late 1950s, decided to direct his own low-budget film, a new form of cinema was born. Defined as "an improvisation" in the closing credits, SHADOWS concerns three New York siblings whose mixed racial backgrounds create tension in their relationships. Hugh (Hugh Herd) is a dark-skinned jazz singer who can only find work that belittles his talent; Lelia (Lelia Goldoni), a light-skinned aspiring writer; and Ben (Ben Carruthers), the youngest, a light-skinned ladies man who spends his nights searching with his white friends for conquests. Hugh and Ben argue over Ben's inability to accept his racial background, an issue that reaches its boiling point when Lelia develops a relationship with Tony (Anthony Ray), a racist. The film boasts a gritty, compelling style, and Charles Mingus's bouncy jazz score enhances the frenetic camera work to give it a documentary-like feel. The performances, all naturalistic and seemingly unrehearsed, add even greater realism to Cassavetes's vision, resulting in a visionary work that is widely considered the first independent American film. [More]
Starring: Ben Carruthers, Lelia Goldoni, Hugh Herd, Anthony Ray
Starring: Ben Carruthers, Lelia Goldoni, Hugh Herd, Anthony Ray, Rupert Cross, David Jones, Jack Ackerman, Tom Allen, Dennis Sallas, David Pokitillow
Director: John Cassavetes
Director: John Cassavetes
Producer: Maurice McEndree
Composer: Charles Mingus
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Reviews for Shadows
a cinematic improvisation (as the end credits mention) of amateur vitality
This is the only Cassavetes film made without a full script (it grew out of acting improvs), and rarely has so much warmth, delicacy, and raw feeling emerged so naturally and beautifully from performances in an American film.
Its importance in the development of the American independent movement cannot be overstated, nor can the unique power it still retains.
A very modern, impressionistic snapshot of New York bohemia with scenes linked not by dramatic line but by place, time and mood.
Shadows is an unfinished picture in every sense of the word. Yet it is fitfully dynamic, endowed with a raw but vibrant strength, conveying an illusion of being a record of real people, and it is incontestably sincere.
The film’s underlying strength is its wrenching portrait of resigned despair over the world’s inescapable prejudice.
Regardless of the veracity of the improvisational claim, Shadows is a remarkable film.
In Cassavetes's inventive and iconoclastic hands, both the content and form of American film underwent a radical transformation.
A fascinatingly honest portrayal of its time, and radical not just in content but in form.
| Tomatometer Percentage | Movie |
|---|---|
| 15% 15% | The Ugly Truth |
| 98% 98% | Up |
| 36% 36% | G.I. Joe: The Rise of … |
| 52% 52% | The Taking of Pelham 1… |
| 45% 45% | Ice Age: Dawn of the D… |
| Tomatometer Percentage | Movie |
|---|---|
| 36% 36% | Angels & Demons |
| 68% 68% | Funny People |
| 25% 25% | Four Christmases |
| 45% 45% | Shorts |
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