All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
The Killing of a Chinese Bookie
A proud strip club owner is forced to come to terms with himself as a man, when his gambling addiction gets him in hot water with the mob, who offer him only one alternative.
Ben Gazzara's performance here is one of those that so captures an actor's essence that it would be pointless to think about anyone else in the role. Beyond all the Cassavetes grace notes-- the dingy texture of the nightclub, the evident affection for his cast of outcasts and rogues, the dread-inducing inevitability of the title-- there's Gazzara, a wannabe big-shot who lacks the means, the common sense, and the luck to lead the kind of life he feels he deserves. His gregariousness becomes tragic.
It's been a long time since a film has instantly pushed to near the top of my favorite movies of all time. The Killing of a Chinese Bookie is one of those occasions.
Cassavetes is a master of eliciting emotions through the most simple of verite style. Without broad sweeps of orchestration or tacky explanations, we truly see the troubled psyche of Cosmo Vittelli (played masterfully by Ben Gazzara) as he goes deeper and deeper down a self destructive rabbit hole in hopes of making something of himself.
I love how the strip club feels sad and dirty. I love the clown figure that works at the strip club (an ode to Sternberg's "The Blue Angel?). I love the realism…
Portrait of the artist as a corrupt man. Portrait of the art as the byproduct of a corrupt world. What Cassavetes achieves here in terms of style is a magnificent symbiosis of references, with Ben Gazzara as his surrogate artist caught in a scenario that is at once noir, expressionist and impressionist. Plot is secondary and becomes but an excuse to delve into the characters' psychology and visions of themselves through the focus on faces and outward expressions. Style, however, is elevated to new heights of meaning as the characters move from light to shadows and back, and from inside to outside the frame. (Al Ruban's and Mitch Breit's cinematography is excellent and appropriate). The very masculine and very beautiful Gazzara (yes, that matters) is the quintessential movie man, but such an idealized impression coexists with the tragic entrapment of life's fragility. Freedom is impossible, and art can do only so much. Or something.
The poster gives you an accurate representation of the shadows and moody reds that the film basks in. Released around the pivotal dirtiest city period of Taxi Driver, The Killing of a Chinese Bookie might as well be the West coast equivalent in look and feel. A Cassavetes noir. Seemingly everyone is corrupt and out to get something. The faces are lived in and molded by crime. The gangsters are dripping with sleaze and menace in equal measure.
Ben Gazzara is asked to represent this height of proud sleaze culture as the strip club owner Cosmo who is in way over his head with gambling debts. Even once filming commenced, he was hesitant in how to approach the character. Cassavetes…
So good I had to watch it twice. John Cassavetes was a unique eccentric, and having watched a handful of his films recently, he has become a new favorite director. His style was unashamedly intolerant of Hollywood formula, audience appeal and the business of Hollywood product.
He was a man who loved people and he showed people expressing themselves through a body of emotions. People have trouble communicating their thoughts into words. Cassavetes' goals were to examine human nature on a naked scale of emotion. More so than any filmmaker I can think of, he uses facial expression, body language, closeups and the visual depiction of characters interpreting their inner thoughts with their faces to elicit drama and move story.…
"Hey Hugh, it's me, your agent. Remember that script I was telling you about, 'A Chinese Bookie'? Well, I got you the part! YOU'RE the Chinese bookie! Isn't that great?" "Wow, do you mean it? That's great - this kind of exposure could really do wonders for my career. I knew I had a good feeling about that part!" "Yeah, it's gonna be great. This director, Cassavetes, he's a real actor's director. He respects the craft. It'll be hard work but you'll do great." "This is exactly the kind of opportunity I've been waiting for!"
That's show business.
A strange film, typical of Cassavetes, but this time I didn't know what to make of it. Set in '70s L.A., a strip-club owner runs up a $23,000 gambling debt, so to pay off the goombah thugs he ows, he very reluctantly agrees to knock off a wealthy Chinese bookie.
The plot doesn't really hold up too well, but there are some interesting and tense moments -- notably a calm but ominous scene where the creditors try to work out a payment plan for Cosmo.
True to form is Cassavetes's verite, shaky-cam style, which is a double-edged sword: one one hand, it gives a feeling of authenticity, like a documentary, but that tends to preclude any payoff. Much like life, I suppose. But sometimes I don't want life. I think this is one where Cassavetes had an idea and didn't know where to go with it.
This review reportedly contains spoilers. I can handle the truth.
Long version - half a step slow.
This is actually the first film I've seen from John Cassavetes as a director and I'm pretty interested in his work. The film is told in a very realistic manner, and Cassavetes really makes the viewer feel like a fly on the wall watching the events play out. I also really liked Ben Gazzara in the lead role and there are some strong scenes and supporting characters. Unfortunately the narrative is really conventional and doesn't really surprise you. The film also runs a bit long and has a tendency to ramble. Overall, I enjoyed the film for it's style, but it strikes me as really minor.
I think I like the idea of this film more than I like the actual film. It can be a little slow, at times, and there are things that just seem superfluous. Gazzara does a great job, but the writing could have been a little clearer and the editing a little tighter.
A movie defined by a career defining performance by Ben Gazzara as tragic gambling addict Cosmo Vitelli and some really great moments. It's unfortunate that the consummate actor's director, John Cassavetes, makes so much of it so difficult to watch with a plot that is not so much elusive as just missing some essential pieces, lighting and focus that's not just moody but often completely off, and an inability to competently convey any sort of action (e.g., parking garage sequence at the end).
By the time I had rated Shadows 9/10, Faces and A Woman under the Influence 10/10 I was betting on John Cassavetes being the most rewarding filmmaker for me to discover on quite some time, when I finished The Killing of a Chinese Bookie, I spent quite some time thinking I was to rate this 5/10.
John Cassavetes had puzzled me, and this neon drenched noir is admirably one of it's kind simply because he directed it. John remains to me an auteur director, in my definition a director with solely his own impulses in mind. When he pushes into a genre how is the audience meant to react? I was reluctant to push 'like' on Faces and Shadows because…
Some of the most unappealing parts are the most interesting. This terrible tasteless strip stage show that they put on every night is something they're so proud of and one of them even gets mad that he doesn't get the credit he deserves. Cassavetes is so good at making us understand not really why it's important to them, but just that it is.
and that's not even important to the plot.
- A Trip to the Moon
- The Great Train Robbery
- The Birth of a Nation
- Les Vampires
- Citizen Kane
- 2001: A Space Odyssey
- Tokyo Story
- The Rules of the Game
- Grand Illusion
- Seven Samurai
- The Lady Vanishes
- The 400 Blows
The entire Criterion collection organized by spine number.
I don't know why I did this.
Number I've Seen: 165/743