Shadows (1959)

User Rating:

7.4/10   

Director:

John Cassavetes

Writer:

John Cassavetes (writer)

Release Date:

11 November 1959 (USA)

Genre:

Drama

Plot:

Cassavetes' jazz-scored improvisational film explores interracial friendships and relationships in Beat-Era (1950s) New York City.

Plot Keywords:

Friendship | Singer | Talent | 1950s | Prejudice

Awards:

Nominated for 3 BAFTA Film Awards. Another 2 wins & 1 nomination

Cast

Ben Carruthers	...	Ben
Lelia Goldoni	...	Lelia
Hugh Hurd	...	Hugh
Anthony Ray	...	Tony
Dennis Sallas	...	Dennis
Tom Reese	...	Tom (as Tom Allen)
David Pokitillow	...	David
Rupert Crosse	...	Rupert
David Jones	...	Davey (as Davey Jones)
Pir Marini	...	Pir the Piano Player
Victoria Vargas	...	Vickie
Jack Ackerman	...	Jack, Director of Dance Studio
Jacqueline Walcott	...	Jacqueline
Cliff Carnell
Jay Crecco
Ronald Maccone
Bob Reeh
Joyce Miles	...	Girl in Restaurant
Nancy Deale	...	Girl in Restaurant
Gigi Brooks	...	Girl in Restaurant
Lynn Hamilton	...	Girl at Party
Marilyn Clark	...	Girl at Party
Joanne Sages	...	Girl at Party
Jed McGarvey	...	Girl at Party
Greta Thyssen	...	Girl at Party (as Greta Thysen)
rest of cast listed alphabetically:
John Cassavetes	...	(uncredited)
Seymour Cassel	...	(uncredited)
Bobby Darin	...	Man Wearing Sun Glasses, Dancing and Later Chewing Gum at Rehearsal (uncredited)
Ellen Paulos	...	Woman (uncredited)
Gena Rowlands	...	Woman in Nightclub Audience (uncredited)
Jean Shepherd	...	Man at Party (uncredited)

Directed by
John Cassavetes

Writing credits (in alphabetical order)
John Cassavetes		writer

Produced by
Seymour Cassel	....	associate producer
Maurice McEndree	....	producer

Cinematography by
Erich Kollmar

Film Editing by
John Cassavetes
Maurice McEndree

Production Design by
Randy Liles
Bob Reeh

Production Management
Wray Bevins	....	production manager

Second Unit Director or Assistant Director
Al Giglio	....	assistant director

Sound Department
Jay Crecco	....	sound

Camera and Electrical Department
Cliff Carnell	....	lighting assistant
Al Ruban	....	camera assistant
David Simon	....	lighting technician

Editorial Department
Len Appelson	....	supervising editor

Music Department
Shafi Hadi	....	musician: saxophone solos
Charles Mingus	....	composer: additional music
Charles Mingus	....	musician: additional music

Other crew
Maxine Arnolds	....	production staff
Anne Draper	....	production staff
Mary Anne Ehle	....	production staff
Judy Kaufman	....	production staff
Ellen Paulos	....	production staff
Leslie Reed	....	production staff

Production Companies

• Lion International

Distributors

• Neue Filmkunst Walter Kirchner (1967) (West Germany) (theatrical)
• Criterion Collection, The (2004) (USA) (DVD)
• Criterion Collection, The (2009) (USA) (DVD)
• Lion International Films (1961) (USA)
• Orion Home Video (video)

Other Companies

• Titra Sound Corporation  sound recording

Runtime:

81 min | UK:87 min | USA:87 min

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono

Certification:

Finland:K-16 | Sweden:15 | UK:PG (re-rating) (1992) | UK:X (original rating) | USA:PG (1991)

Filming Locations:

Manhattan, New York City, New York, USA

Company:

Lion International

Trivia:

During one of his regular acting workshop sessions, John Cassavetes recognized in one particular improvised skit the premise for a potentially good film. Over several years he developed the plot in his workshops, employing many of his young students in his film.

Quotes:

Tony: I need the key for 042!
David: You can't get it, Elaine's not in.
Rupert: Where is she?
David: She's dealing with the raccoons, man.

Movie Connections:

Featured in "Cinéastes de notre temps: John Cassavetes" (1968)

Soundtrack:

Beautiful

Enchanting time capsule of late '50s New York, still fascinating..

I had never seen a film by John Cassavetes up until two years ago, when I first saw THE KILLING OF A Chinese BOOKIE in a Berlin cinema, which I found interesting, to put it diplomatically, but not so special, I instantly wanted to see more of his work. Since then, I tried - with an emphasis on tried - watching his other work, SHADOWS in particular. I must admit, it took me a a while before I actually enjoyed the film. At first the unpolished, raw and improvised way Cassavetes it was shot, put me off somewhat and I thought of it as an original - absolutely - but flawed and dated experiment. But now, upon reviewing, these little imperfections make it look so fresh, even today.

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