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user\nA documentary about a nomadic tribe in Tibet going out to a dry lake to get salt does not sound very appealing. But this is not a popcorn movie but a visual cultural feast whereby you partake of a rapidly vanishing morsel of humanity. The superstitions, the epic songs and poetry, the faith of a people who truly believe in following their own unique patterns of life are something the West had in the times of Homer but that is now, unfortunately, completely foreign to most of us in the \"developed\" world. We have lost the spiritual serenity that comes from following well established patterns of life, often with dire mental consequences in our increasingly soulless society. The film makers have woven us intimately into the fabric of these materially poor but spiritually rich and scrappy saltmen. And made us see that there was more to life than the shopping mall and pop culture. So disconnect your land lines, turn off your cells, turn off the driveway lights and sit back and ease yourself into a timeless adventure.
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user\nI think Gerard's comments on the doc hit the nail on the head. Interesting film, but very long. It's definitely the antithesis to the new school of flashy, sexy, Moore-style docs. There is no narrator, no facts or side info interlaced, and no other gimmicks. What you see is what you get - a glimpse into the vanishing world of the Saltmen of Tibet. As a huge doc fan, I was surprised how much I lost attention with this film, namely due to the length and lack of dialogue. In the end though I would recommend it if the subject matter sounds interesting to you. It's beautifully shot, informative, and presents a valuable (and closing) window into the way of life of the Tibetan saltmen (and women :) - all important attributes of a good doc. But do put on a big pot of coffee, it'll help.
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user\nThis is a beautifully filmed movie that questions the future of all indigenous peoples, especially nomadic tribesmen. Focusing on the Saltmen of Tibet, the film moves at pace that may make some western viewers uncomfortable. For some peoples, life still proceeds at the same pace which it has for thousands of years. This film follows a group of tribesmen on their annual two month quest to get salt. Their tribe lives its life in a traditional manner (slowly by modern standards) and always accounting to their many gods. This is a remarkable film, one which will preserve a piece of what may, unfortunately, become history. Well worth the time. Don't be in a rush when you see it.
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user\nAn apt description by Spock of an all-powerful fop into whose clutches fall the crew of the Enterprise. This was one sector of space our starship should have avoided: first Sulu & Kirk simply disappear off the bridge; a landing party follows them to the surface of an unknown planet and encounter Trelane, a seemingly aristocratic man dressed in attire from an Earth of many centuries past. But he demonstrates abilities of someone or something far beyond human and doesn't register on McCoy's medical tricorder. The officers manage to escape back to the ship but, like some bad cosmic penny, Trelane keeps popping up. He brings them all back, including some female companionship, to continue his games. The dilemma now takes on elements of 'The Most Dangerous Game' out in space and there's an exasperating, even infuriating aspect to the crew's utter helplessness before such unbridled power.
What really makes this a great episode is the memorable performance by guest star Campbell as the overpowering but not all-knowing alien. His character is obviously an early version of Q, who was introduced 20 years later in the pilot for the TNG series. Trelane's confrontation scene with Spock stands out among all the strange drama which unfolds. As usual, Kirk quickly begins to look for possible weaknesses in his new nemesis, despite being quite outmatched. The answers to exactly what or who Trelane is are right in front of us the whole time so, when we do learn the truth, it makes complete sense in view of Campbell's pitch-perfect acting. He indulges himself constantly, preening before some unknown audience, remarking on things with a flair which is infectious but not quite right - we can't quite pin it down at first, but there's something missing here. Every few minutes, his tone becomes sinister and the crew now appears to be in serious danger. In a way, you can't take your eyes off him, always waiting to see what he does next. Actor John de Lancie captured that similar tone as Q on the Next Generation series.
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user\nIn \"The Squire of Gothos\", Kirk and his crew encounter a powerful super-being, who keeps the Captain, \"Bones\" and a few crewmembers captive for no apparent reason. I could be wrong, but I think this is the first Star Trek episode I ever saw and the program that made me hungry for more. It is not one of the best episodes, but the rock-solid premise of an alien being who putting the Enterprise's crew in a corner, is the kind of situation that makes the show so much fun to watch. In a way, the super-humanoid anticipates one of Star Trek's most famous characters, Next Generation's enigmatic \"Q\". This episode is also memorable for creating a unique situation: it is the first time Uhura is part of the action and the story allows the viewer to see what an endearing character Uhuara can be when the story allows her. Too bad the show never fully explored this iconic figure.
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user\nI did enjoy watching Squire Trelane jerk around the crew in this episode, though after a while the whole thing just seemed a little too long. Sure, the histrionics were kind of funny for a while, and the ending was a pretty good way to wrap the whole thing together. I think the problem was that I enjoyed seeing Trelane when he was full of bravado and fun, the fun seemed to vanish when Trelane became vindictive and nasty. Talk about a mood killer--going from the obnoxious but affable host to the guy sentencing Kirk to death! But, despite this, the episode was enjoyable and worth my time. For die-hard Trekkies, this is a must-see, for others it's just a pretty run of the mill one.
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user\nGeneral Trelayne is a super-being who wants to play a little game with the crew of the Enterprise. A lot of extremely unlikely and nonsensical stuff seems to be happening, and Trelayne seems obsessed with the human practices of warfare and murder. He seems to need to experience what he imagines to be a thrill and has created a human environment (though a few hundred years out of date) in which to play out his fantasies. The environment is subtly inauthentic, and the crew immediately begins to spot the inconsistencies. Pretty soon it becomes clear that Trelayne is not just an immature god, but a very fallible one. Regardless of how you feel about this one, stick around for the Twilight Zone-like ending. It is well worth it.
As many have pointed out, Trelayne's character inspired the more developed and amusing on-going character Q - and you can see in John DeLancie's construction of that personality more than just shades of Campbell's Trelayne. It is fun to compare how the four captains we have seen coping with Q all deal with him so radically differently.
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user\nThe Squire of Gothos is one of the \"sillier\" episodes of Star Trek, and therefore one of the most entertaining ones. The entertainment factor is, generally speaking, fueled by the stand-off between William Shatner and the episode's hilarious guest star, William Campbell.
During an unspecified routine mission, Sulu suddenly vanishes into thin air, and Kirk follows soon after-wards. Spock immediately begins looking for his missing colleagues (and, though he'd hate to admit it, friends), while the two stranded crewmen must deal with the mysterious, all-powerful, flamboyant Trelane (Campbell), the self-proclaimed Squire of Gothos, a being capable of creating or destroying anything he wants through the sheer power of his mind.
At first sight, the plot may seem recycled from previous episodes (honestly, are there any sci-fi shows that didn't feature at least one God-like character), but that feeling vanishes pretty quickly thanks to the script's winning use of exaggerated humor, all conveyed through Campbell's deliberately camp performance: his Trelane is essentially the Trek version of a spoiled child in the body of an adult, while his ignorance-fueled curiosity for the human race (his knowledge is quite limited) probably served as inspiration for Gene Roddenberry when he came up with the character of Q for the Next Generation pilot, some two decades after this episode aired.
In short, the key to appreciating The Squire of Gothos is this: \"silly\" doesn't necessarily equal \"bad\".
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user\nWhen I first saw the movie, I thought it was sweet - a family movie. For the rest of the night and over the next couple of days, though, clever moments and funny lines kept creeping back into my thoughts and our conversation... There's a lot going on, classic elements of farce, good character acting, and Wendie Malick's story line is just hysterical. Labelling it a \"feel-good movie\" belies the wit and fun - it's smarter than it seems, just like \"It's a Wonderful Life\" is.
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user\nThis film is not your typical Hollywood fare, though the pickings are so bad I often tend to stay away from movies rather than be disappointed. However, this little low-budget gem is thoroughly loveable and enjoyable and definitely a keeper. The actors are as varied as the characters they portray, the Buffalo setting is charming (what a pretty city), and the story sparkles. The lack of gratuitous violence, sex and the \"f\" word doesn't detract in the least! Take the kids, take grandma, take a break from Hollywood! I give it an 11 out of 10!
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user\nI would recommend this film to anyone who is searching for a relaxing, fun-filled, thought-provoking movie. The absence of sex, vulgarities and violence made for a most pleasant evening. I especially enjoyed the Buffalo scene, but that's probably because I live a short distance from there. Even so, this film could have been produced in any city; it's the theme that's so important here. I'm just grateful that Manna From Heaven dropped down on us. Try it...you'll like it!
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user\nI thoroughly enjoyed Gabrielle Burton's story of a mysterious gift and how it effects it recipients in the past and present. The talented Burton family of five film-making sisters, an author mother, and dancing dad offer a charming plot, respectfully edited for clarity , memorably chosen songs, and a beautifully filmed piece that made me laugh and cry as the characters' vulnerablility invited me into their predicamant. There was a farce-like attitude about this work with touching undertones of innocent wonder. Fanatastic
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user\nWe went to see Manna from Heaven, my husband, two friends, and I and we all enjoyed the film. The characters are funny, the story is amusing and so much like real life. I think that is what I liked most, just seeing something believable, no murders, no sci-fi, just good, clean fun. It is something you could take your children or elderly parents to and not worry. How many of those are around anymore!!
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user\nIn the wasteland that Hollywood Productions have become of late, this movie - in and of itself - is truly \"MANNA FROM HEAVEN\"!!!
In what could best be described as a \"cute\" movie, approximately 350 years of movie acting experience (allright - give or take 100 years!) joyously lights up the screen to tell a tale of deceit, remorse, and redemption about a Catholic Family in Buffalo, NY.
Truly well-positioned to take its place in the \"feel-good\" movie genre, this quiet little independent film by the Burton Sisters' FIVE SISTERS PRODUCTIONS COMPANY will leave a smile on your face and joy in your heart, all while renewing your faith in mankind.
From the spectacular opening scene shots of Buffalo, NY to the final credits, the film manages to tell a tale that could have been told of any family, anywhere. Yet, somehow this particular gathering of family and \"family by association\" in a small, non-descript house in Buffalo more than fits the bill. If you've never been to Buffalo, you'll leave the theater with thoughts of \"shuffling off\" for a visit! Shots of the city landmarks and surroundings help to bring a quaint, down to earth tone to the film - which suits it just fine. The quiet beauty of the \"Queen City of the Great Lakes\" compliments, rather than detracts from the tale that is being told. If only more movies would take advantage of the natural beauty of this country's \"second cities\" instead of running off to a soundstage somewhere, the end results would be so much more believable.
Great performances by Shirley Jones, Frank Gorshin, Wendy Malick, Jill Eickenberry, and the rest of the ensemble cast prove again that true talent outlasts Hollywood's \"flavor of the week\" any time!
GO SEE THIS MOVIE!
You've wandered in Hollywood's desert for too long!
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user\n`Manna From Heaven' is a delightfully compelling film.
Within the shifting paradox of values in middle-class Americans from 40 years ago to the present day, the plot tweaks the concerns and hopes of an interesting range of `Damon Runyonesque' characters.
Their struggles with moral dilemmas, dotting on `what might have been,' hopes to yet fulfill youthful dreams, romantic yearnings, and `hit it big' combine to make a most entertaining film. Rather than relying upon `in-your- face' sexual explicitness, the burgeoning relationship between Inez and Mac/Bake is classically subtle but clear. His untying the knot in her shoelace at the Art Gallery and their heat in their poker game is outstanding
The script's crisp writing is skillfully interpreted by an outstanding star and supporting cast. One of the few films I have ever fone to see twice in its opening run, `Manna From Heaven' definitely warrants national distribution.
Conrad F. Toepfer
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user\nAs a native of the city where the story takes place, Buffalo, NY, it's fun to see the local sites but the story line is so local and fun, too!
The small scale promoting of this film requires strong word of mouth to accomplish the wide viewing it deserves. Please make this film the success the Big, Fat Greek Wedding was.
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user\nBeing from the Buffalo area I was well aware of the movie having read many articles in local publications. I was most impressed with the movie, especially its clever plot, the acting and the local scenes. Nice to see so many older, quality stars in the various roles. I feel that especially those of us over 50 will find the movie excellent and you can leave the theater feeling that your time was well spent.
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user\nI found this move beautiful, enjoyable, and uplifting. Initially the local sites in the film, which was filmed here in Buffalo, intrigued me. Later I found myself lost in the power of the film. How do you repay a gift from God? The ability of characters to rise above their base natures and respond to the touch from God warmed my heart. The entire audience applauded at the conclusion of the film. I left the theater with a lilt in my step, joy in my heart and hope for the human race. What more can any film do? Hollywood, I hope your paying attention. America does like positive, upbeat films.
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user\nWhat a great cast for this movie. The timing was excellent and there were so many clever lines-several times I was still laughing minutes after they were delivered. I found Manna From Heaven to have some surprising moments and while there were things I was thinking would happen, the way they came together was anything but predictable. This movie is about hope and righting wrongs. I left the theater feeling inspired to do the right thing. Bravo to the Five Sisters.
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user\nManna from Heaven is heavenly. This is a movie for the family -- teens and grandparents can enjoy it together. But it isn't syrupy sweet or silly. The characters really are \"characters\". The plot is somewhat complex and you have to pay attention, but it's like putting a puzzle together as it all falls into place bit by bit. The period beginning is like watching an old photo album, or remembering back when. It's extremely well done with very accurate hairstyles and costumes. The story moves along quickly with twists, turns and lots of fun.
A special treat is to watch the large cast of familiar faces, many of whom we haven't seen in much too long a time. Part of the fun is to recognize and name them mentally as they appear, though this can be distracting. Cloris Leachman by the end of the film looks as if she's had a make-over on \"Oprah\". I had never seen Faye Grant in a movie -- only knew her as Grace's mother in the TV series \"Saving Grace\". She was great, even minus the southern accent. And I didn't even recognize Shelly Duvall. The five sisters who created this very lovely film are a very talented quintet and Sister Theresa is a heavenly treasure.
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user\nTwo things can happen when an ensemble cast is brought together. Either you are left walking out of the theater asking, \"Why?' or you receive MANNA FROM HEAVEN, a delightful comedy from the Burton Sisters, whose mother not only provided inspiration but the screenplay itself. Ursula Burton, plays Theresa, a nun whose friend's and family had always believed she was touched by G-d. When money falls from the sky the clan use young Theresa's faith that the money was gift from the heavens to allow all their dreams to come true. Years pass and we find Theresa returned home to her native Buffalo. She comes to the realization that the gift needs to be repaid and calls together her friends and family, (Academy Award winners Shirley Jones, Louise Fletcher and Cloris Leachman) to return the debt before Easter Sunday. The money has long since been spent and all the characters find themselves in financial difficulties. Shirley Jones and Frank Gorshin, are a husband and wife con team that teach the all important lesson's in life, of how to dress for winter in Buffalo and my personal favorite, \"they expect you to take the silverware,\" when visiting a restaurant. The audience can only hope that if Theresa does reach her goal that that someone won't run off with the money. The movie teaches us that it is not money, but ourselves that make our and other's dreams come true. Every action has an outcome not just for you, but the community around you. When looking into the mirror we see ourselves as we'd like to be, MANNA FROM HEAVEN, answers the question of how other's can see the image we'd most like to reflect. The Burtons have done a superb job directing the cast to break out of their shells and create new and inventive characters. In the day of multi-million dollar budgets, this low budget Indy proves it is not the cash in hand, but true talent that will draw the biggest laughs. Wendie Malick (The American President, Just Shoot Me) adds a special flavor to this already talented cast.
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user\nMy wife and I struggle to find movies like this that are clean and yet enjoyable for adults. If you can't find a cinema that is playing it, call your cinema and request it. Bravo, Five Sisters Productions for courage, tenacity and creative endeavor!
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user\nI didn't know much about this movie going in- my roommate kind of dragged me into it. I was so pleasantly surprised! The plot really grabbed my attention and held it, and the characters are well-drawn and realistic. The screenplay is very clever and funny, and the cast does great things with it. And the best part is that it managed to be entertaining without any explicit sex or violence! If this movie comes anywhere into your area you really should go see it- stand up for this little film, it is worth it!
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user\nIf Hollywood had the wellbeing of the audience at heart we would see 20 films a year with the kind of wholesome fortitude that is behind this film. There are several experiences of personal growth in this movie and while the characters ARE still very human even the lessons learned are not that greed will profit you, or do-unto-others-whatever-you-want-as-long-as-you-are-okay-with-it, no, this is what our sad, desensitized lives need, more sense... more love... more do-unto-others-as-you-would-have-done-unto-you... more HOPE. (thanks Ursula!) This movie has an intelligent wit, not \"yo' mama\" cracks that run rampant in the so-called comedies. People need to feel good. This movie will make you feel good and possibly inspire you to better your life, and the lives of others. sidenote Every person counts in ticket sales. This is a truly independent film. If you want more quality films you have to support them.
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user\nAt a time when Hollywood thinks that louder, faster, and bloodier are better, Manna From Heaven is comedic and touching look at something we've all thought about: What would I do if a load of money fell from the sky.
Interestingly, it took the characters many years to realize that the money hadn't made a single difference in their lives. They all become what they were destined to be. Unfortunately, in most cases, what they became was unhappy, in spite of their good fortune all those years ago.
While Manna offers the familiar Hollywood storyline of Good vs. Evil, or in the case, Generosity vs Greed, what sets this film apart is that Good wins out by converting Evil, not by crushing it.
I think the important message of this film is that you can change the world... even if you do it one person at a time.
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user\nWitticisms, colorful characters, family relationships, coping with hardships, living with fun and humor. This film has it all and more. What a great 'every man (and woman)' story, with a top notch plot and script. It offers just clean fun, lots of laughter, many smiles and pure entertainment for the whole family. Other reviewers describe the story some. I'll just offer this comparison teaser  it's part \"Best of Show,\" \"Grumpy Old Men,\" \"Millions,\" and some other comedy and life flicks rolled into one.
This gem of a film most likely had limited release and is probably not very available to rent. But, it's now out on DVD and I highly recommend it for purchase. If you like good old-fashioned fun and entertaining films for the family, you can't miss with \"Manna from Heaven.\" This film is a sure fire cure for the blues or to chase the gloom away on nasty weather days or rough times.
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user\nInspired casting, charming and witty throughout. Much like the currency in the opening moments of the film, the story floats along magically until you are emotionally \"invested\" in its outcome. The city of Buffalo has never looked better! Kudos to the Burton Sisters and the entire cast for a job well done.
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user\nSaw the movie last night w/o knowing anything about it (nothing else out seemed interesting and I had a Buffalo connection to this movie - UB grad). It was a very enjoyable movie. Liked the pace (it picks up after a slow beginning) and story. Well written plot and good character development and relationships. Highly recommend it to anyone who likes to see movies that have interesting stories. Found myself talking about this movie afterwards over a few beers - most discussions don't last more than a few minutes.
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user\nI thoroughly enjoyed Manna from Heaven. The hopes and dreams and perspectives of each of the characters is endearing and we, the audience, get to know each and every one of them, warts and all. And the ending was a great, wonderful and uplifting surprise! Thanks for the experience; I'll be looking forward to more.
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user\nIts a feel-good movie that made me feel good. Some in this genre can be sickly sweet, but this script is restrained. The movie is funny and fun. The acting is great.
If this were a musical, I would have left the theater humming the tunes.
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user\nManna From Heaven is a light comedy that uses exaggeration of human foibles to entertain the audience. Throughout the film there is the expectation that goodness will surface in each situation. The result is that the movie goer finds himself/herself sitting with this silly grin on his/her face, peace in his/her heart, and high expectations for human kind. Watching this movie was a most pleasant experience. (I would venture to say uplifting experience, but some would say that sounds corny!!)
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user\nThis was a great movie, and safe for the entire family (which one doesn't see much of anymore. My wife and I and 15 year-old son loved it. Even though you had an inkling of how it would end, it continued to be a fun journey, and the final ending surprised us. There should be more movies like this!!!
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user\nNo bullets, no secret agents, a story that is entertaining, funny, and believable. Met some of the producers/actors in this film at the theater. They seemed as interesting in person as their characters on screen. You may not hear about this movie on TV with high-dollar ad spots, but it is definitely worth checking out. I have spent $8 for a movie ticket on a lot of other movies that weren't this entertaining. Looking forward to future projects by this production company.
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user\nReally enjoyed Manna From Heaven. If you liked My Big Fat Greek Wedding you will like this too! Once the story line is set it begins to keep you guessing the outcome. I think we'll be hearing more from Five Sisters Productions. I know I'll be watching for their next movie.
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user\nMANNA FROM HEAVEN is a terrific film that is both predictable and unpredictable at the same time. You know that the characters after finding out that the so-called \"Gift From God\" was actually a loan, will pay back the money and that everyone will be happy at the end, but how they get there is not as obvious. The scenes are often funny and occasionally touching as the characters evaluate their lives and where they are going. The cast of veteran actors are more than just a nostalgia trip. Frank Gorshin, Shirley Jones, and Cloris Leachman prove that they are capable of more than playing the Riddler, Mother Partridge, or Mary's friend Phyllis while Jill Eikenberry and Wendie Malick play characters different than we have seen on their TV series. Ursula Burton's portrayal of the nun is both touching and funny at the same time with out making fun of nuns or the church. If you are looking for a movie with a terrific cast, some good music(including a Shirley Jones rendition of \"The Way You Look Tonight\"), and an uplifting ending, give this one a try. I don't think you will be disappointed.
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user\nThis was really a pleasure to see; the dialogue was - for the most part - absolutely outstanding (I thought the women's roles were a little better written, which is a nice surprise). The performances were uniformly very good, too. Frank Gorshin overdoes it a little when he goes into his various cons, but this might be his overcompensating for what I see as weaknesses in how the character is written; he's VERY good otherwise. Harry Groener does similarly well with a slightly underwritten character (Tony), overdoing some of the character's angrier scenes slightly. Ursula Burton is excellent as Sister Theresa, really carrying the film through some of its weaknesses. Seymour Cassel and Louise Fletcher are a little underused here, though I liked their work as always. Shirley Jones, Wendie Malick, Jill Eikenberry and Faye Grant are very good also (I couldn't help thinking Grant reminded me a little of Catherine O'Hara here); Cloris Leachman rather tears into her role, with reasonably good results.
I wish there had been more of a sure hand behind the camera, though. Sometimes the framing or staging seemed a bit off, or awkward. The closeups seemed overused (or erratically used) to me. And we don't always go from scene to scene as smoothly as we'd like. Some of the \"tough guy\" approach to the federal agent (music, costuming) was too over the top for me as well. And the few fantasy sequences didn't really work. But there are things that were VERY well done; the opening sequence set in Buffalo around 1970, for example. And, frankly, all of the scenes regarding Theresa's church work (I suspect the writer and actress liked the character a lot, which helps). The scenes between Malick and Eikenberry are VERY good.
The plot is probably a bit overcontrived - there seem to be a few too many schemes going on at once to keep them all straight at times, and the coincidences got to be a little too much. And I was a little bothered by the ending (should we REALLY be rooting for their biggest con yet to succeed?), but the ride along the way is very enjoyable. It would be nice to see more independent movies like this one made.
7 of 10
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user\n1959 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.
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user\nThe remarkable, sometimes infuriating, often brilliant films of John Cassavetes occupy a unique position in American cinema Low-budget, partly improvised, inspired by cinéma verité documentary, and related to underground film, they have nevertheless frequently managed to reach a wide and profoundly appreciative audience
After drama studies, the young Cassavetes quickly made his name as an unusually unrefined, intense actor, often appearing in films about disaffected, rebellious youth such as \"Crime in the Streets\" and \"Edge of the City.\"
Setting up an actors' workshop, he worked to transform an improvisational experiment into his feature debut The result, \"Shadows,\" taking three years to complete and partly financed by his performances in TV's Johnny Staccato, was a breakthrough in American cinema About the effect of racism on an already fraught relationship between two black men and their sister, two of whom pass for white, the film is impressive for its irregular, seemingly formless style and naturalistic performances Plot was minimal, mood and emotional apparent truth were everything
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user\nI 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
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user\nJohn Cassavette's decided as his first film, obviously as one shot on a shoestring in New York, to not even have a script with dialog, and delivers a 1959 feature equivalent of Larry David's Curb Your Enthusiasm- all the actors know what to do and say and even have the right look in their eyes when they talk. In other words, it's one of the most realistic looks at the beat generation, jazzed sweetly in it's score and telling a tale of racial tensions. A group of black siblings are the center-point, with one trying to get better gigs than the average strip-club, and has a sister, much more light-skinned than him, who gets entwined with a white man in a relationship, which shatters both sides. The film, however, isn't exclusively about that; Cassavettes likes to have his characters wander around New York City (which not many films did in 1959/1960) and his style of storytelling is like that of the improvisational jazz artists of the day. Dated, to be sure, but worth a glance for film buffs; Martin Scorsese named this as one of his heaviest influences.
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user\nIt ends with the declaration that \"the film you have just seen was an improvisation\"-at once making you feel like an idiot for thinking an improvisation was an good movie, and astounded at Cassavetes' genius...once again. Of course, Cassavetes told some guy it wasn't really an improvisation per se, on his deathbed, so...it's the story about a light-skinned black woman, Lelia, who passes for white, and her family: another passing-for-white brother named Ben, and a black-black brother named Hughie. When she falls in love with a white jerk named Tony, he is unpleasantly surprised when he finds out she's black, and from there it goes on about the three main characters' individual aspirations and shortcomings. Hughie is a jazz singer in the process of becoming a failure, Lelia's still hopelessly depressed over Tony, and Ben is angsty and violent in general, in desperate need of something to shock him out of his stale patterns of existence. Overall, I suppose it's really about stasis vs. change in human life. I suspect that Cassavetes had the plot organized enough, and it was just the dialogue that was improvised. The dialogue itself is very uneven - sometimes somebody will say something very memorable, other times it's memorably awkward. What's amazing is the extent of the amateur actors' embodiment of their characters. Cassavetes went through the acting class he was teaching at the time he decided to do Shadows, whispered in the ears of the ten best students, and this was the result...the guys playing Ben and Hughie are very good. At first I didn't like Lelia, but as the film progressed you see more and more she's one of those actors who gets better as the tension and drama builds - not necessarily the best with small talk. Shadows is hailed by many as the forerunner of the indie film movement (made in 1959) and it's definitely recommended.
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user\n1st watched 8/26/2001 - 8 out of 10 (Dir-John Cassavetes): Well-done early independent film by Cassavetes introduced a style that was much different than what Hollywood shows it's audience. This movie also introduced some very taboo subjects, especially the actual racism that probably was prevalent all over the country but was not displayed by the mostly white controlled filmmakers of the time. About the only black actors that had much respect at this time were the ones that acted and displayed personality like whites(aka. Sidney Poitier). Besides this, the idea of ending a film without truly concluding the relationships that began leaves many moviegoers dumbfounded but actually makes the viewers realize that life is like this(it goes on...). I prefer this kind of an ending because it makes you think more about the characters and what may happen next and the conclusions are not just laid out for you. The movie follows the lives of people(particulary a couple of people who have a brief relationship and happen to be opposite skin colors) then we watch what happens when the white man realizes what he's done. This is done very well and makes the movie very special. The acting is supposedly done improvisationally which makes the movie even more amazing. I guess you can say I liked this movie, if you can't tell. If you can find it check out this classic early independent film.
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user\nWhat 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.
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user\nWatching John Cassavetes debut film is a strange experience, even if you've seen improvisational films before.
The first thing you notice is it's roughness. Right off, it's obvious some of the characters are screwing up their lines. But then you step back from the situation, as you sink deeper into these people's intimate exchanges and you ask yourself: \"Do I ever stumble over MY words?\" The answer of course, is sure, we all do. It's unfortunate that most of the gaffes in this respect come early in the picture, because, by about twenty minutes, you've sunk so deep in you wouldn't know it if a bomb went off behind you.
The next thing you notice...or maybe you notice it hours or days after the film ends, is that you never saw any substantial plot, yet the themes and the poetry of the dialog and characters never leave you. In fact, the treatment of the role race plays in the everyday lives of these characters is always there, but it's so ephemeral that even they aren't aware of how it's informing their opinions of themselves, their self-consciousness, their perceived status, or the fate of their relationships.
The title is appropriate because you get a full spectrum of blacks, whites, and grays...and not just in the skin pigmentation of the characters. Leila Goldoni (truly remarkable here) is an afro-American/Caucasian, her two brothers are white and dark afro-American. The irony is that they exist in what is undoubtedly the \"hippest\" most tolerant atmosphere of the time...beat-driven upper east-west Manhatten...and there are still conflicts within and around themselves.
I don't think I've ever seen a movie with such a subtle delivery or technique. It's a lot like absorbing a really great piece of gallery art and then just nodding off in bliss as you think back to the images it evoked days later.
Great mastering and extras on the Criterion disc. Arguably the first truly experimental independent film ever made.
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