These program notes for a John Cassavetes retrospective in July 1980 were commissioned by the Museum of Modern Art’s Film Department, which as I recall edited them fairly substantially. (My subsequent “review” of the retrospective for The Soho News, “The Tyranny of Sensitivity,” is already available on this site.) I no longer have the unedited version, but I’ve tweaked this version in a few spots for style as well as factual accuracy without altering any of its opinions, some of which I might no longer share. -– J.R.
JOHN CASSAVETES, FILMMAKER AND ACTOR
June 20–July 11, 1980
“I Can’t Give You Anything But Love,” the cornball anthem that sounds so memorably through the final moments of Cassavetes’ THE KILLING OF A CHINESE BOOKIE, might be a fair enough theme song for what his contribution to movies is all about: a radical commitment to people that goes beyond mere thought.
His attitude is one that often has been difficult to grasp, for in over three decades as director, writer, and actor, he has seldom encouraged, or even allowed, a detached appraisal. For someone like me, who grew up watching his performances in films and live TV dramas in the fifties before experiencing the raw shock and revelation of SHAD0WS in 1961, a disinterested account of what that shock meant is perhaps impossible. … Read more »
From the July 1980 issue of Omni. Portions of this are derived from a lecture I gave at the Venice film festival the previous year, which is reprinted in my first book, Moving Places: A Life at the Movies (1980). A lot of the terminology used here seems pretty quaint now. — J.R.
Speculating on what movies of the future will be like, it’s hard to get very far without some notion of the changing needs of the audience. A crucial part of this change can be detected in where we see movies. According to present signs, it seems pretty clear that most of the films we’ll see will be either in homes or in shopping malls.
“Once inside a mall, shoppers have few decisions to make,” the magazine Dollars & Sense recently noted. “Corners are kept to a minimum so the customers will flow along from store to store, propelled, as the developers say, by `retail energy’.” It’s a description that fits several recent movie blockbusters — and others we can expect to see in the future.
By contrast, the movie houses that traditionally cropped up near the centers of towns — public gathering places, not unlike the municipal squares they were often adjacent to — are quickly becoming nostalgic emblems of another era.… Read more »
From Wide Angle, vol. 4, no. 3 (1980). I hope that Peter Lehman, who wrote the introduction to our interview and whom I haven’t seen in decades, doesn’t mind me posting this piece now.
I retain a very warm memory of Jerry Fielding; we were staying in Athens, Ohio at the same hotel during the Workshop on Sound and Music in the Cinema, which we were both attending, and we had breakfast together once or twice. I recall his conversation as both literate and dynamic, and especially compelling when he spoke about Sam Peckinpah, one of his favorite collaborators. Dan Carlin (1927-2001), whom I got to know less well, is also, alas, no longer alive. -– J.R.
Film Music: An Interview with Jerry Fielding and Dan Carlin
By Peter Lehman and Jonathan Rosenbaum
Jerry Fielding, Dan Carlin and Chris Newman were guests of a Workshop on Sound and Music in the Cinema presented by the Appalachian Regional Media Center in Athens, Ohio, October 5-7, 1979. The well-known Hollywood composer, Jerry Fielding, began studying music in his late teens with Max Atkins. Atkins was the music director and arranger at the Stanley Theater in Pittsburgh, Fielding’s hometown. Fielding moved to Los Angeles where he worked with some of the most famous big band leaders.… Read more »
My first meeting with Samuel Fuller is chronicled in this interview/essay published in the July 9, 1980 issue of The Soho News. Seven years later, while concluding my academic career at the University of California, Santa Barbara, where I was placed in charge of running the film studies summer school program, I was still crazy about Fuller, and invited him to serve as our “visiting artist”, which led to our becoming friends from that summer until his death a decade later. I did my best to try to capture his singular way of talking in this article. For my title, I’m using the headline on that issue’s front page, not the title given inside (“Sam Fuller Reshoots the War”). — J.R.
When I enter his suite at the plaza, he’s finishing lunch, expressing his regret about missing Godard at Cannes, remarking on the absurdity of prizes at film festivals, asking me what Soho News and Soho are. (The one he knows about is in London — he fondly recalls a cigar store on Frith Street.)
It isn’t hard to figure out why Mark Hamill affectionately calls him Yosemite Sam, or why Lee Marvin simply says he’s D.W. Griffith. Bursting with the same charismatic, comic-book energy that sky-rockets through most of his movies, old crime reporter, novelist, war hero, writer-director and sometime producer Samuel Fuller, almost 69, still moves and talks like his daffy action flicks — like the wild man from Borneo — in quick, short, blocky punches, like two-fisted slabs of socko headline type.… Read more »
From Film Quarterly (Summer 1980). –- J.R.
PERS0NAL VIEWS: EXPL0RATI0NS IN FILM
By Robin Wood. London: Gordon Fraser. 1976.
It’s a pity that Robin Wood’s first collection of essays, published in England four years ago, has had to wait this long to find a US distributor (ISBS, Inc., PO Box 55, Forest Grove, OR 97116). Very much of a transitional work between Wood’s justly celebrated auteurist monographs (on Hitchcock, Hawks, Bergman, Penn and Satyajit Ray) and his recent, more ideologically based film studies. Personal Views: Explorations in Film inevitably loses some of its intended impact by arriving here out of sequence. And for those like myself who feel that the essays in this volume do not represent Wood’s work at its strongest — weighted, as many of them are, more toward the adoption of certain positions than toward their subsequent implementations (and other consequences) — they are more often useful as “stepping stones,” in establishing the backgrounds of some of Wood’s current arguments, than they are as independent studies in their own right.
In broad terms. what this book chronicles in some detail is Wood’s discovery of –and engagement with – some of the theoretical issues in film theory that were being broached in Screen in the early seventies, including those which directly challenged many of the pre-suppositions of his own earlier work.… Read more »