Two closely-bound, emotionally wounded siblings reunite after years apart.
Two closely-bound, emotionally wounded siblings reunite after years apart.
“This picture, this picture; I don't give a fuck what anybody says. If you don't have time to see it, don't. If you don't like it, don't. If it doesn't give you an answer, fuck you. I didn't make it for you anyway.” — John Cassavetes on Love Streams
the perfect endcap to cassavetes’ career (big trouble doesn’t count), and he knew it. you can sense his savoring of life in the bittersweet way he and gena rowlands slow dance, lit only by the light of a jukebox and the moon. in the same room, he later briefly looks straight into the camera, his face slightly obscured through the rain-streaked window, and it hits like the most intimate goodbye. i’m grateful he got to say goodbye.
not just the bottomless need for love but the inexhaustible compulsion to express it, to find an outlet for it, to enact it.
One of the pleasures of watching a movie for me is taking leave of time. By that I simply mean not wearing a watch. And making sure to always switch off (off!) my mobile phone. It means that when you're watching the film, you have to feel how much time has passed and how much time remains. When attempting to make that calculation is too easy, and when you're right about it, you know you have a bad movie. I genuinely believe that a key barometer of quality filmmaking is when, temporally speaking, you don't know where you are. I think it might relate to that cliché when people talk about "losing yourself" in a movie. Anyway, I was watching…
“Do you believe that love is a continuous stream?
Cassavetes is above all else a cinema of flesh, of an overwhelming need of embracing the material world. Love Streams could've been one type of propsition - she loves too much, he withholds everything - but end up been a very diferente one less based on easy oppositions: post apocalyptic world of feelings whose Adam and Eve just happens to be brother and sister, one less given to carnal thoughts as much na constant emotional need. It is his most beautiful sustained film and along with Chinese Bookie the most imaginative, every cut bringing a total mystery (although the early fatalistic film tend to contracts its world while Love Streams embrace…
“would love be considered an art?”
an intense feeling of deep affection.
each frame of this movie aches with an exhausted resignation. this was john cassavetes swan song, his love letter to his career, his collaborators, his wife. it’s brimming with passion, but not that of a young eager filmmaker... moreso the passion of a fire that’s about to go out, of a voice desperately attempting to be heard one last time. in one of the most breathtaking sequences in the film, we see john standing aside a jukebox in a pitch black room as he stares out of a window on a rainy night. the entire film he surrounds himself with fragments of a time long passed—…
This may actually be a terrible movie. For the first time I saw the possibility of how people could be perplexed, or completely disengaged by this. More than any other Cassavetes movie too, this thing is enigmatic, bordering nonsensical, and has an overwhelming sincerity masked by performative excess, that leans into its schizophrenic quality (intentionally). It's honestly barely a movie; there's no plot, things just sort of happen, it builds up to a wildly obtuse and out of left field third act, and has some really counter-intuitive characterizations/performances/performers, alongside the trademarked half-sentences, constant laughter, shitty editing, and overall amateurish charisma. All these things just make me love it more. This is an artist, knowingly going to die, just laying it…
Cassavetes (I finally figured out there's only one T in his name) remains elusive to me. I am impressed by his work. I am intrigued. I enjoy, if that's the right word, his films. Shadows stands out as a great film in my mind. A Woman Under the Influence has a powerful heart to it in the central performances of Rowlands and Falk that moved me when I watched it. But most of his films, Love Streams included, always seem too overstuffed, too wild, too chaotically emotional for me to relate. I appreciate that the lives I am witnessing are real on an emotional level, but they are not ones I can truly understand.
Perhaps the best contrast is A…
a continuous stream
of my tears
While I find myself in no position to espouse great love or adoration for the film I can certainly appreciate and even admire it from afar! It is my first John Cassavetes film and I can promise you it won't be my last! So you can appreciate the fact I'm not entirely familiar with the directors style other than opinions I formed from my first outting but I believe his intent was to take his audience out of their comfort zones! In this area alone the film is a quantifiable success!
There is one particular scene where the son is left with his estranged father minutes later the child is making a mad dash for the door and down the…
Gena Rowlands and John Cassavetes are unsurprisingly tremendous in Love Streams, the eleventh movie directed by Cassavetes. If chronicles middle-age siblings Sarah Lawson and her brother Robert (Rowlands and Cassavetes respectively) each attempting to come to terms with a procession of adverse events in their lives.
It's based on a 1981 stage production by Canadian Ted Allan and is bestowed with an attitude which audibly assembles a stumbling and maniacal chaos, with characters talking over each other in conjunction with other additional aspects of the sound design orchestrated to express Roberts emotionality as well as his ineptitude in sustaining a physical space with others. This was the last Gena Rowlands and John Cassavetes movie, and it's an incredible final performance from one of the most impressive and creative couples in cinema.
"love is a stream, it's continuous, it doesn't stop"
the way john jumps into the cab and engulfs gena in the most tender and sincere hug when their characters see each other in the film for the first time... i love they
This review may contain spoilers. I can handle the truth.
This was technically my second time seeing John Cassavetes's not-quite-final valedictory film, but the first time I watched it a few years ago, I had just come from a bar under the influence of two beers (maybe my tolerance was lower back then), so I found myself nodding off through large portions in the middle. Even for the parts I was fully alert for, though, I suspected I was watching something considerable—and that impression was roundly confirmed in this second go at the film. Rest assured, I was sober this time around, the only intoxication coming from the powerful film itself.
One thing about the film I hadn't realized in my drowsy state the first time around is how hilarious…
It fascinates me how he manages to find the cracks that are closer to love than love itself.
"'A beautiful woman has to offer a man her secrets.'' This is the sentiment uttered by Robert Harmon, the protagonist of John Cassavetes "Love Streams," (played by Cassavetes himself) and this is the phrase that, in my mind, is the key to unlocking the beauty of Cassavetes work.
Filmmakers like David Lynch and Alejandro Jodorowsky craft films as puzzles. Utilizing surreal and absurd imagery to hint at a deeper meaning that can only be found when tracing the chain of your own individual reaction to what it is inside of you that is reacting so strongly to it. But the beauty of these films are that they aren't every really fully understood. They are such personal expressions from these filmmakers,…
Gena Rowlands, te quiero muchísimo
John and Gena's chemistry is amazing, I could truly watch them on my screen all day.
The more Cassavetes I watch the less I “get” him. I expect great performances over everything, but sometimes the dialogue is rich and sometimes it’s yammering (“Husbands”). I expect feel over plot, but sometimes things get extra surreal or you question a character’s motives even more than usual. I expect beautiful shots.. that’s it for that one, he never really lets me down visually.
Usually not “getting it” is associated with a dislike or distaste and but that’s not the case here. I enjoy the spaces Cassavetes creates and the people that inhabit them even when I can’t give you summary of what the big picture was. I can take a line or a glance and get a lot out of…
si alguien llama, estoy muerto
Cassavetes - who directs, co-writes and stars - is at his most eccentric in this odd drama about the damaged romantic lives of a middle-aged brother and sister, who reunite after several years apart. Love Streams starts well enough but becomes increasingly insufferable in its final act. Thing is, for all its faults, the two main characters (essayed by Cassavetes and the great Gena Rowlands) are compelling and multi-layered enough to just about make it all work.
“Yeah, well, life is a series of suicides, divorces, promises broken, children smashed, whatever.”
ps: impagável a cena de quando sarah chega na casa de robert com dois pôneis, uma cabra, um pato, uma galinha e seus pintinhos, um papagaio e um cachorro. simplesmente o PODER de gena rowlands e john cassavetes atuando juntinhos
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the antidepressants of love
comfortably relate with the goat..
starting a petition to get Jim reunited with his best pal Lenny
juliodogpit 600 films
*New and better methodology. *Normalized distribution of more recent films. *Better approach resulting in less american bias. *Used specific…