Shadows

1958's SHADOWS is John Cassavetes' debut as writer/director, and I can only imagine how revolutionary it seemed in its time.  It isn't until the end credits that we are informed the film is "an improvisation".  Although it may not have mattered, I think knowing that ahead of time might've caused one to judge each scene differently.  Here is a collection of fly on the wall moments that feel as realistic as any '50s cinema I've witnessed.  Shot on the mean streets of NYC.  The clubs, the diners, the outdoor museums.  The authenticity Cassavetes captured would still make this film invaluable even if none of the human drama worked.

There are several characters in SHADOWS, and the focus wanders.  It is primarily advertised as an interracial romance between the young, naive Lelia (Lelia Goldoni) and Tony (Anthony Ray) a seemingly pleasant fellow who perhaps irrevocably changes her.   We also meet Lelia's jazz musician brothers Hugh (Hugh Hurd), struggling to stay relevant and Benny (Ben Carruthers), who wastes his time hanging with his pals, scoping out chicks and drinking.  And Hugh's manager Rupert (Rupert Crosse).  There is also Lelia's older, smitten friend David (David Pokitllow).  In a running time that is under ninety minutes, the film attempts to follow each and flesh them out.  Provide vivid character sketches.

Mostly successfully, but by the end I felt that Lelia and especially Tony were left hanging a bit.  Such is life.  It's as if Cassavetes decided to cut off our access to these folks after a few weeks and wonder of their fates.  Many films do that.  But Lelia and Tony's scenes, evolving from light and fun to despairing and sad, are the most worthy, and I wanted more satisfactory closure for them.  Maybe Cassavetes didn't know what happened to them, either.  As if they just disappeared into the city "with ten million people" without a trace, like people do. Curiously, most of the other characters are given more conclusive exits.

As someone said, these characters are "feeling out loud", externalizing their demons. They are not always likable.  There are numerous verbal and sometimes physical battles.  Lelia's post coital scene with Tony is painfully lucid.  The film is technically very crude and rough, but this adds to the experience.  You could call SHADOWS the grandfather of independent film in many ways.  It paved the way for Cassavetes' later films and just about every indie to follow.  It's raw and without much form, but unfailingly honest and realistic in the relational (and racial) dance.

P.S. - Look closely on the graffiti on a wall late in the movie, during a fist fight.  Not what you'd typically find in a picture from this era.