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Shadows (1959)
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All reviews for Shadows
Stranger Than Fiction - "Film A ...
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thefilmpanelnotetaker
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thefilmpanelnotetaker Blog
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"Stranger Than FictionFilm As a Subversive Art: Amos Vogel & Cinema 16Q&A with Cinema 16 Veteran Jack GoelmanIFC CenterJanuary 29, 2008 (Thom Powers and Jack Goelman)Week four of Thom Powers’ (TP) popular documentary series at New York’s IFC Center, *Stranger Than Fiction, presented last night director Paul Cronin’s Film As a Subversive Art: Amos Vogel & Cinema 16. (FYI, Cronin is also the co-author of Herzog on Herzog.) The screening was followed by a Q&A with Cinema 16 veteran Jack Goelman (JG). Last night’s screening was co-presented by Rooftop Films. A bit of background on Vogel—he was the founder of "
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Shadows
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analogzombie
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analogzombie Blog
loved it.
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"John Cassavetes' Shadows is a film that will change you opinion of what cinema is capable of. Shot in 1957, with reshoots a year later, the film tells the story of Lelia and Tommy, young lovers who spend a night together and then are ripped apart by their own very human flaws. The film focuses on a family of three bi-racial siblings living together in New York. Hugh is the oldest brother, darkest skinned, and a jazz singer. Younger brother Benny is a fair skinned rastabout who lives by night, and is only out for kicks. Youngest Lelia is the fairest of the bunch and is mired in the fantasy of female youth. Idelaistic, and apiringly intellectual, Lelia meets Tommy at a literary party. Like all of the people Lelia regularly hangs out with, Tommy is white. This is the central issue with the film, the real drama begins once TOmmy has met Lelia's brother Hugh and is blindsided with her race. It's not so much revulsion he feels, but guilt, for feeling revolted. This sends the ... "
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Cassavetes primer
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analogzombie
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analogzombie Blog
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"Cassavetes is one of those directors you either love or hate. Much the same way people are totally polarized on the works of Tarantino, or the film Magnolia, Cassavetes has driven film fanatics to loathe him, critics to praise him, and general audiences to simultaneously revile and admire him. He can either open an entire world of film to you, or simply reinforce your preconceived notions of the pretentiousness of auteur films, and in that he is singular. If the validity of art were based on its ability to produce extreme emotion Cassavetes would be considered a DaVinci. The way in which he achieves this provocation of emotion is special too. No other director, not Ozu, Renior, Scorsese, or Anderson (either of them), has successfully captured the essence of feeling in their films the way Cassavetes does. You don’t watch one of his films, you feel it, you live it. The audience registers every second of joy, anguish, or pain that floats across the characters’ faces. This ... "
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Cassevettes and Mingus
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quint
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"I recently rewatched this film. Previously I'd checked it out at the library and the disc was so scratched as to be unwatchable. Then I bought the Criterion collection boxed set and have procrastinated about finishing it ever since. I love these boxed sets because it is like committing to reading every book by a particular author. Watching the artist mature through their work. The extras on the disc are marvelous, so some of the juiciest bits were quite buried in the mix. In a photo gallery of the recording sessions of the soundtrack, there are some great anecdotes about Charles Mingus. I've read Mingus' memoit "Beneath the underdog" and am quite familiar with his temperament and his music. I guess Cassavettes contacted him to do the music and he took months to do just a few minutes of the score. He asked Cassavettes to send some people over to clean up the cat shit in his studio. He couldn't work with all this cat shit on the floor. So Cassavettes dutifully came over and cleaned u ... "
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