The films of John Cassavetes: part 10 - OPENING NIGHT
August 15th 2010 22:17
‘Opening Night’ is the other side of ‘A Woman Under the Influence’, about a woman on her own, with no responsibility to anyone but herself, with a need to come together with other women. Myrtle is alone and in desperate fear of losing the vulnerability she feels she needs as an actress. She is a woman unable any longer to be regarded as young: Sex is no longer a viable weapon. You never see her as a stupendous actress. As a matter of fact, her greatest thrill was comfort, as it is for most actresses. “Give me a play I can go into every night and can feel I have some awareness of who I am, what I am”. She didn't want to expose herself in certain areas. So when she faints and screams on the stage, it's because it's so impossible to be told you are this boring character, you are aging and you are just like her. I would be unable to go on to the stage feeling that I'm nothing. I think that most actors would, and that's really what the picture is about. Although she resists facing them, Myrtle must finally accept and resolve the dilemmas which lie not only at the core of the play she is doing, but which reflect the basic realities of her own existence, from which she has heretofore fled, aided by alcohol, men, professional indulgence – and fantasy! The character is left in conflict, but she fights the terrifying battle to recapture hope. And wins! In and out of life the theme of the play haunts the actress until she kills the young girl in herself.
- John Cassavetes
They want to be loved.
They have to be loved.
The whole world.
Everybody wants to be loved.
When I was 17, I could do anything.
It was so easy.
My emotions were so close to the surface.
I’m finding it harder…. and harder…. to stay in touch.
- Myrtle Gordon in Opening Night
Many viewers who watch the films of John Cassavetes, tend to classify them in certain ways. Some say his films are about love (which in my opinion is a trivial attempt in sentimentalising their difficulties), while others like to classify his films as male films and female films which is certainly a valid suggestion. One thing that I’m sure of though, concerning at least one theme of his that runs through his works when you add them up accumulatively in the order that the films were made, is that they reflected his interests and concerns as he got older. His work as a whole is one of the rare cases of an American filmmaker which comprehensively documented aging and it’s concerns, starting with youth in his first films and then working up. This was reflected in his stories, his characters and his own style of filmmaking. In the beginning his style was volatile, urgent, at times uncontrollable and always unpredictable and we saw this in his early works, which were the signs of a young man behind the camera, seeking break throughs from his actors in Shadows or Faces. Shadows and Too Late blues in particular showed young characters, naïve, filled with ideals.
Then a film like Husbands came along, we saw men who were terrified at the thought of settling, desperately clinging to memories of youth and male bonding. With A Woman Under The Influence being a family man was now a part of life, having a wife and kids brought new issues and questions out concerning these characters and The Killing Of a Chinese Bookie presented full evolution and growth with in his story telling style and ability. The next step is where we find the story, characters and style of Opening Night, Cassavetes 1978 drama about an alcoholic actress working on Broadway and coming to terms with the role she’s being cast in.
While Opening Night doesn’t yet have the autumnal undertones of ‘Gloria’ or the emotionally aching hindsight of ‘Love Streams’, there is most definitely a resigned quality to it, the whole experience of Opening Night feels very formal for what we’ve come to expect from this man’s films. The resignation is clear in it’s characters, in it’s style, it’s certainly not a depressing film, but it is a down beat one. There’s an unusual stillness in Opening Night, as if it’s joints have tightened up. Opening Night is one of the films that my own youth keeps me out of touch with, as a result it’s core theme fails to resonate with me – aging. Opening Night revolves around this theme, as different as each of Cassavetes’ previous film’s styles were from the next, Opening night adjusts itself accordingly.
Set on Broadway, actress Myrtle Gordon, played by Gena Rowlands (The Notebook, Night On Earth, Faces) is a woman who finds herself faced with the unavoidable truth that she is finally past her prime. This isn’t easy for Myrtle, she is surrounded by sycophants and yes men, people who only want to please her, with no real interest in what is actually best for her. Myrtle is becoming more and more dependant on alcohol, stuck in a play she hates. One night a screaming fan accosts Myrtle outside the theatre, a beautiful teenage girl, that with all the rain flooding down on her, looks more like a drowned rat. This girl’s admiration for Myrtle is troubling, as she runs out in the rain after Myrtle’s limousine and gets killed by an oncoming car in the down pour. This scene is one of the more visual and kinetic moments in the film, executed masterfully. The apathetic reaction to this tragedy, from the other jaded and self centred actors travelling in Myrtle’s limo is immediately troubling. Myrtle seems to be the only one shaken by this.
All the other character’s around Myrtle have settled into the recognition that they’re past their best days, they simply set them selves in stone, falling into patterns, making up their minds about their limitations. These characters are played by a classy cast, including Joan Blondell (The Cincinnati Kid, Foot Light Parade, Grease), Ben Gazzara (Brian’s Song, Dogville, Saint Jack), Paul Stewart (Citizen Kane, Kiss Me Deadly, In Cold Blood), John Cassavetes (The Tempest, The Killers, The Incubus) and Zohra Lampert (The Exorcist 3, Bye-Bye Braverman). Myrtle on the other hand refuses to do this, it’s just not in her to imagine herself that way. Myrtle begins having break downs, her drinking worsens and the dead girl who was killed out side the theatre begins appearing in front of her, taunting Myrtle about her age and fading looks.
It’s unusual seeing a ghostly like apparition in one of Cassavetes film’s, but also shows how he’s not limited to any kind of ‘style’. There’s a lot going on in Opening Night, but all the questions it poses to it’s audience are ones that I’m not in touch with. As a result, much of the film goes over my head, as it requires a certain amount of life experience to appreciate it’s resonance. The first act of Opening Night can initially be hard to get into, especially in light of how restrained and formal the film feels (it’s also perhaps his most uncommercial film). The film plays like an oversized, lethargic opus that’s far too towering and rigid to find it’s place comfortably with it’s audience. The film begins to develop and pull you in more when Myrtle starts seeing the dead girl in front of her, getting more explosive and vibrant from then on.
The one problem I find with the film is it’s ‘play with in a play’ structure, which could also be seen as a strength. The play Myrtle is in, is linked to her dilemma and crises as we’re put through extended parts of the play’s performance. Unfortunately it’s meant to be a bad play she’s in and watching these long stretch of laboured theatre can be difficult, it also makes you aware of how truly long this film actually is. The main appeal that makes Opening Night good is the absolutely fantastic acting and flights of spontaneity that fill the picture. Opening Night’s acting, especially the part played by Cassavetes himself here who is sometime hilarious and shows a real gift for comedy, is superb. As Rowlands and Cassavetes character throw out the lines more and more on their opening night and basically just improvise their own play, you begin to watch some of the most inspiring, semi-improvised acting. This third act where the film uses it’s actors to give it self wings makes that initial drag that this character has been put through all worth it.
Another point worth mentioning is that Rowlands plays an alcoholic here, and while this has always been a role many, many actors have taken on, the way Rowlands plays a drunk is entirely original. She does exciting things with her part. In the end, Opening Night is a good film, it’s not at the same level as some of his better films and it doesn’t stand up that well on repeat viewings (aside from the phenomenal final act which is absolutely brilliant) but is a solid film none the less, which ambitiously reveals the inner dynamics of creative people in the theatre.
Interesting fact – for those of you who are fans of Spanish filmmaker Pedro Almodovar. Opening Night is one of his favourite film’s and is the direct inspiration for his film, ‘All About My Mother’, whom Gena Rowlands is one of the film’s dedicatees.
Here’s a scene from Opening Night
- John Cassavetes
They want to be loved.
They have to be loved.
The whole world.
Everybody wants to be loved.
When I was 17, I could do anything.
It was so easy.
My emotions were so close to the surface.
I’m finding it harder…. and harder…. to stay in touch.
- Myrtle Gordon in Opening Night
Many viewers who watch the films of John Cassavetes, tend to classify them in certain ways. Some say his films are about love (which in my opinion is a trivial attempt in sentimentalising their difficulties), while others like to classify his films as male films and female films which is certainly a valid suggestion. One thing that I’m sure of though, concerning at least one theme of his that runs through his works when you add them up accumulatively in the order that the films were made, is that they reflected his interests and concerns as he got older. His work as a whole is one of the rare cases of an American filmmaker which comprehensively documented aging and it’s concerns, starting with youth in his first films and then working up. This was reflected in his stories, his characters and his own style of filmmaking. In the beginning his style was volatile, urgent, at times uncontrollable and always unpredictable and we saw this in his early works, which were the signs of a young man behind the camera, seeking break throughs from his actors in Shadows or Faces. Shadows and Too Late blues in particular showed young characters, naïve, filled with ideals.
Then a film like Husbands came along, we saw men who were terrified at the thought of settling, desperately clinging to memories of youth and male bonding. With A Woman Under The Influence being a family man was now a part of life, having a wife and kids brought new issues and questions out concerning these characters and The Killing Of a Chinese Bookie presented full evolution and growth with in his story telling style and ability. The next step is where we find the story, characters and style of Opening Night, Cassavetes 1978 drama about an alcoholic actress working on Broadway and coming to terms with the role she’s being cast in.
While Opening Night doesn’t yet have the autumnal undertones of ‘Gloria’ or the emotionally aching hindsight of ‘Love Streams’, there is most definitely a resigned quality to it, the whole experience of Opening Night feels very formal for what we’ve come to expect from this man’s films. The resignation is clear in it’s characters, in it’s style, it’s certainly not a depressing film, but it is a down beat one. There’s an unusual stillness in Opening Night, as if it’s joints have tightened up. Opening Night is one of the films that my own youth keeps me out of touch with, as a result it’s core theme fails to resonate with me – aging. Opening Night revolves around this theme, as different as each of Cassavetes’ previous film’s styles were from the next, Opening night adjusts itself accordingly.
Set on Broadway, actress Myrtle Gordon, played by Gena Rowlands (The Notebook, Night On Earth, Faces) is a woman who finds herself faced with the unavoidable truth that she is finally past her prime. This isn’t easy for Myrtle, she is surrounded by sycophants and yes men, people who only want to please her, with no real interest in what is actually best for her. Myrtle is becoming more and more dependant on alcohol, stuck in a play she hates. One night a screaming fan accosts Myrtle outside the theatre, a beautiful teenage girl, that with all the rain flooding down on her, looks more like a drowned rat. This girl’s admiration for Myrtle is troubling, as she runs out in the rain after Myrtle’s limousine and gets killed by an oncoming car in the down pour. This scene is one of the more visual and kinetic moments in the film, executed masterfully. The apathetic reaction to this tragedy, from the other jaded and self centred actors travelling in Myrtle’s limo is immediately troubling. Myrtle seems to be the only one shaken by this.
All the other character’s around Myrtle have settled into the recognition that they’re past their best days, they simply set them selves in stone, falling into patterns, making up their minds about their limitations. These characters are played by a classy cast, including Joan Blondell (The Cincinnati Kid, Foot Light Parade, Grease), Ben Gazzara (Brian’s Song, Dogville, Saint Jack), Paul Stewart (Citizen Kane, Kiss Me Deadly, In Cold Blood), John Cassavetes (The Tempest, The Killers, The Incubus) and Zohra Lampert (The Exorcist 3, Bye-Bye Braverman). Myrtle on the other hand refuses to do this, it’s just not in her to imagine herself that way. Myrtle begins having break downs, her drinking worsens and the dead girl who was killed out side the theatre begins appearing in front of her, taunting Myrtle about her age and fading looks.
A dead fan begins haunting Myrtle
It’s unusual seeing a ghostly like apparition in one of Cassavetes film’s, but also shows how he’s not limited to any kind of ‘style’. There’s a lot going on in Opening Night, but all the questions it poses to it’s audience are ones that I’m not in touch with. As a result, much of the film goes over my head, as it requires a certain amount of life experience to appreciate it’s resonance. The first act of Opening Night can initially be hard to get into, especially in light of how restrained and formal the film feels (it’s also perhaps his most uncommercial film). The film plays like an oversized, lethargic opus that’s far too towering and rigid to find it’s place comfortably with it’s audience. The film begins to develop and pull you in more when Myrtle starts seeing the dead girl in front of her, getting more explosive and vibrant from then on.
The one problem I find with the film is it’s ‘play with in a play’ structure, which could also be seen as a strength. The play Myrtle is in, is linked to her dilemma and crises as we’re put through extended parts of the play’s performance. Unfortunately it’s meant to be a bad play she’s in and watching these long stretch of laboured theatre can be difficult, it also makes you aware of how truly long this film actually is. The main appeal that makes Opening Night good is the absolutely fantastic acting and flights of spontaneity that fill the picture. Opening Night’s acting, especially the part played by Cassavetes himself here who is sometime hilarious and shows a real gift for comedy, is superb. As Rowlands and Cassavetes character throw out the lines more and more on their opening night and basically just improvise their own play, you begin to watch some of the most inspiring, semi-improvised acting. This third act where the film uses it’s actors to give it self wings makes that initial drag that this character has been put through all worth it.
Another point worth mentioning is that Rowlands plays an alcoholic here, and while this has always been a role many, many actors have taken on, the way Rowlands plays a drunk is entirely original. She does exciting things with her part. In the end, Opening Night is a good film, it’s not at the same level as some of his better films and it doesn’t stand up that well on repeat viewings (aside from the phenomenal final act which is absolutely brilliant) but is a solid film none the less, which ambitiously reveals the inner dynamics of creative people in the theatre.
Interesting fact – for those of you who are fans of Spanish filmmaker Pedro Almodovar. Opening Night is one of his favourite film’s and is the direct inspiration for his film, ‘All About My Mother’, whom Gena Rowlands is one of the film’s dedicatees.
Here’s a scene from Opening Night
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Comment by David O'Connell
20/20 Filmsight
Screen Fanatic
Comment by ShaunK
Screen Adventure
I hate to say it but this film can be a bit dull at times. I'm aware that I'm watching very good film making in general (which feels, strangely enough, quite conventional). There are some terrific things in Opening Night Dave, it just isn't the best film for repeat viewings or anything.