In preparation for my John Cassavetes panel discussion from a couple of weeks back, I decided to look into the director’s less-celebrated and/or actor-only efforts, just to see if I’d missed any lost gems. Now that the much-lauded Love Streams is simply out of the run as a potentially great work, perhaps there’s something else out there that qualifies?
Saddle The Wind (1958)
Directed by Robert Parrish and written by Rod Serling, Saddle The Wind is an odd little film that, in 1958, was notable for starring Robert Taylor, but today is strictly remembered due to the names Rod Serling and John Cassavetes. The titled lured me in with its sense of poesy, and with Rod Serling (of Twilight Zone fame) as writer, I was hoping for a neglected classic. Yet the film is poorly scripted, cliched in parts, features a bad, tacked-on ending, and mediocre acting from all involved, except John Cassavetes. In fact, from the first shot of Nick (Cassavetes) in the sun, the viewer simply sees a different caliber of acting that subtly predicts Nick’s character arc without giving too much away. The way Nick blinks, or moves his hands nervously; the tiny, easy-to-miss gestures; the disappearing smiles or slight shifts of mood — these are all hallmarks of character realism, and present Nick as a real entity with an accumulating, psychotic streak as opposed to a mere symbol of this or that. There’s little Nick can stand for, and despite the script’s issues, it’s a credit to Serling that Nick is simply a villain transplanted to the Old West, as opposed to the heavy-handed ‘commentary’ that the Western genre had become known for by this time. Sure, the decision also strips the film of depth, but a few subversions of genre tropes, like this, keep Saddle The Wind from being in worse company. An OK work, overall, but one of Rod Serling’s minor efforts, even as it’s one of Cassavetes’s best performances from the 1950s.
Too Late Blues (1961)
Of all of John Cassavetes’s ‘meddled-with’ productions — these include A Child Is Waiting, Gloria, Big Trouble, and 1 or 2 others — this is no doubt his best, and retains more of his characteristic style and vague character resolutions that manage to keep a few possibilities open. It begins with a jazz musician, Ghost (Bobby Darin), and an aspiring singer, Jess (Stella Stevens), seemingly falling in love, then trying to figure out what to do about their careers. Ghost is idealistic while his band-members are ready to compromise, but, as with so many other artists with potential, Ghost’s personal lacks (physical cowardice, irresponsibility) feed into the art, as well, thus stripping it and ruining both his chances with Jess as well as art. He leaves the band, makes some money as a sell-out (via a patron who sees right through him), and finally returns to his band, only … Continue reading →