| Introduction | Chap.1 | Chap.2 | Chap.3 | Chap.4 | Conclusion |
Up to this point, we have discussed Cassavetes’ two major films,
the characteristics of his films and his life-long main theme.
To summarize, Shadows and Love Streams have similar points; they
depict the meandering nature of human relationships and misunderstandings
between siblings. In Shadows, family ties and the fact that they
are Negroes unite the siblings, Hugh, Ben and Leria.
In Shadows, the existence of the siblings can be said to be the
only and complete existence that is certain in the film. The tie
between the brothers can be defined as a strong one. The brothers
are adults but none of them has a steady or another family. The
place where they belong is only one. While, in the first half
of Love Streams, the tie between the siblings nearly disappears.
The siblings, Sarah and Robert are middle-aged and become estranged
from each other. After Sarah loses her family through her divorce,
she visits Robert. They each have their own places to which they
belonged. Robert and Sarah try to repair their tie, but it becomes
disconnected after all. They would have to make an attempt to
find a new family. The tie of a blood relationship has no power
in the end.
In addition, scenes with pools are often found in Cassavetes’
films. We can see it in Too Late Blues, Minnie and Moscowitz and
Love Streams. For example, in Too Late Blues, drunken Ghost and
Jessica flirt near the poolside. They nearly fall off to the pool.52 In Minnie
and Moscowitz, Seymour and Minnie swim in the pool at midnight
where no one is swimming. In these examples, pools function as
a place where the lovers open their heart. Pools may liberate
lovers. In Love Streams, the pool appears in Sarah’s second dream.
She jumps into the pool with her clothes on. The pool symbolizes
the boundary between the real and the unreal in this film. In
Chapter Three, we have discussed Sarah’s act of jumping into the
pool as the spiritual suicide. The pool as Cassavetes’ favorite
props seems to have different meanings in the long run.
In Chapter Four, it was noted that Cassavetes made films about
family-organizing rather than family-scattering. But in Love Streams,
finally, the nuclear family and siblings are parted. The characters
will start as individuals. Although the ending seems rather hopeless,
we still find the characters’ vital force, which is pervasive
in all Cassavetes’ characters. What makes Cassavetes characters
different from ordinary melodramatic characters is their kind
of adaptability to real life. The characters negotiate obstacles
using their own adaptability, which might be an absent-minded
state.
As Cassavetes’ words clearly indicates, he was only interested
in love, the family, in short, human relationships. Moreover,
he said:
I’m a man who believes in the validity of a person’s inner desires.
And I think those inner desires, whether they’re ugly or beautiful,
are pertinent to each of us and are probably the only things worth
a damn. I want to put those inner desires on the screen so we
can all look and think and feel and marvel at them.53
He creates many astonishing scenes, which consist of laughter
and dance, expressing the characters’ meandering with their open
mouths and attaching two bodies. In his early films, Cassavetes
used close-ups of the characters’ grimace, open mouth and fragment
of the body to represent each character’s inner truth. Later,
he might try to depict inner truth using symbolic sequnces such
as those in Love Streams. Cassavetes’ films deal with problems
more deeply than those in ordinary melodrama-based films. Each
character’s excessive emotion sometimes combines to get closer
to family melodrama. But Cassavetes’ aim to depict characters’
complete inner truth enabled his films to mix melodramatic factors
with the real world. Adopting melodramatic props and issues, he
manipulated comical effects and moving scenes, and succeeded in
describing the various aspects of human nature.
| Introduction | Chap.1 | Chap.2 | Chap.3 | Chap.4 | Conclusion |
Notes
52 Raymond
Carney, Cassavetes no Utsusita America. [American Dreaming: The
Films of John Cassavetes and the American Experience]. 67. Raymond
Carney suggests that this scene compares with the love scene in
Capra’s It’s a wonderful Life on the point that depicting ado
between the lovers rather than making serious love scene.
53 Joseph Gelmis, The Film Director as Superstar. Harmondsworth:
Penguin Books, 1974. 129.
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主要参考文献（和書）
ジョン・カザヴェテスについてのもの
キネマ旬報社 『カサヴェテス・コレクション』、１９９３
（株）スイッチ・コーポレーション 『スイッチ』 １９９０年１月号、、１９９０
フィルムアート社 『カイエ・ド・シネマ・ジャパン』 ７号、１９９３
フィルムアート社 『カサヴェテス・ストリームス』、１９９３
カーニー、レイモンド著、梅本洋一訳 『カサヴェテスの映したアメリカ』、勁草書房、１９９７
アメリカ映画（ハリウッド映画含む）についてのもの
梅本洋一 『映画をつなぎとめるために』、勁草書房、１９９０
加藤幹郎 『映画のメロドラマ的想像力』、フィルムアート社,１９８８
―――― 『映画ジャンル論』、平凡社、１９９６
佐藤忠男 『アメリカ映画』、第三文明社、１９８６
シュレイダー、ポール著、山本喜久男訳 『聖なる映画』、フィルムアート社、１９８１
シトニー、アダムズ編、石崎浩一郎訳 『アメリカの実験映画』、１９７２
スクラー、ロバート著、鈴木主税訳 『映画がつくったアメリカ』、平凡社、１９８０
濱口幸一他 『現代映画作家を知る１７の方法』、フィルムアート社、１９９７
メカス、ジョナス著、飯村昭子訳 『メカスの映画日記』、フィルムアート社、１９７４
映画についてのもの
岩本憲児編、『映画理論集成』、フィルムアート社、１９８２
――――編、『新映画理論集成』、フィルムアート社、１９９８
バザン、アンドレ著、奥村昭夫訳、『ジャン・ルノワール』、フィルムアート社、１９８０
―――― 小海永二訳、『映画とはなにかI』、美術出版社、１９６７
―――― 小海永二訳、『映画とはなにかIII』、美術出版社、１９６３
―――― 小海永二訳、『映画とはなにかIV』、美術出版社、１９７7
ハーコート、ピーター著、加藤裕佳子訳、『映画とその神話的世界』、晃洋書房、１９９４
フリン、カリル著、鈴木圭介訳、『フェミニズムと映画音楽』、平凡社、１９９４
演劇についてのもの
アルトー、アントナン著、安堂信也訳、『演劇とその分身』、白水社、１９９６
オリビエ、ローレンス著、倉橋健他訳、『演技について』、早川書房、１９８９
河竹登志夫 『演劇概論』、東京大学出版会、１９７８
ソンタグ、スーザン著、岩崎力訳、『アントナン・アルトー論』、創文社、１９７６
高島邦子 『２０世紀アメリカ演劇』、国書刊行会、１９９３
ブルック、ピーター著、高橋安也他訳、『なにもない空間』、晶文社、１９７１
ベネデイテイ、ジーン著、高山図南雄他訳、『スタニスラスキー伝』、晶文社、１９９７
アメリカ、ニューヨークについてのもの
木島俊介 『アメリカ現代芸術の２５人』、集英社、１９９５
コールハウス、レム著、鈴木圭介訳、『錯乱のニューヨーク』、筑摩書房、１９９５
粉川哲夫 『ニューヨーク街路劇場』、北斗出版、１９８１
近藤竜男 『ニューヨーク現代美術』、新潮社、１９８８
サルトル、ジャン・ポール著、佐藤朔ほか訳、『アメリカ論』、人文書院、１９５３
ディクスン、モリス著、今村楯夫訳、『アメリカ１９６０年代』、有斐閣、１９８６
野村達朗 『ユダヤ移民のニューヨーク』、山川出版社、１９９５
藤枝晃雄編 『アメリカの芸術』、弘文堂、１９９２、
松山信直編 『アメリカ文学とニューヨーク』、南雲堂、１９８５
渡辺淳 『スペクタルの６０年代』、平凡社、１９８７
その他
『現代思想』、１９８５年６月号、青土社
田之倉稔 『イタリアのアバンギャルド』、白水社、１９８１
チェスラー、フィリス著、河野貴代美訳、『女性と狂気』、批評社、１９８４
トマソー、ジャン・マリー著、中條忍訳、『メロドラマ』、晶文社、１９８４
ドムナック、ジャン・マリー著、岩瀬孝訳、『悲劇への回帰』、中央公論社、１９８７
ハスケル、モリー著、海野弘訳、『崇拝からレイプへ』、平凡社、１９９２
久守和子他 『英米文学にみる家族の肖像』、ミネルヴァ書房、１９９７
ブーアステイン、D.J.著、後藤和彦他訳、『幻影の時代』、創元新社、１９６４
細川周平他 『ジャズを放つ』、洋泉社、１９９７
前田一郎 『アメリカ黒人問題』、熊本商科大学海外事情研究所、１９７９
ミーカー、ジョセフ・Ｗ著、越智道雄訳、『喜劇とエコロジー』、法政大学出版局、１９８８
山口昌男他 『反構造としての笑い』、NTT出版株式会社、１９９３
Filmography
John Cassavetes’ films
Shadows (filmed 1957-9; released 1959)
Screenplay: John Cassavetes
Photography: John Cassavetes, Erich Kollmar
Editors: John Cassavetes, Maurice McEndree
Producers: Maurice McEndree and Nikos Papatakis
Cast: Ben Carruthers(Ben), Leria Goldoni(Leria), Hugh Hurd(Hugh),
Anthony Ray(Tony), David Pokitillow(David), Rupert Crosse(Rupert),
Davey Jones(Davey)
Running time: 87 minutes
Too Late Blues (filmed 1961; released 1962)
Screenplay: John Cassavetes and Richard Car
Photography: Lionel Lindon
Editor: Frank Bracht
Producer: John Cassavetes
Cast: Bobby Darin(John “Ghost” Wakefield), Stella Stevens(Jess
Polanski), Everett Chambers(Benny Flowers), Nick Dennis(Nick),
Rupert Crosse(Baby Jackson), Val Avery(Freidlobe)
Running time: 103 minutes
A Child is Waiting (filmed 1962; released 1963)
Screenplay: Abby Mann
Photography: Joseph LaShelle
Editor: Gene Fowler, Jr.
Producer: Stanley Klamer
Cast: Burt Lancaster(Dr. Matthew Clark), Judy Garland(Jean Hansen),
Gena Rowlands(Sophie Widdicombe), Steven Hill(Ted Widdicombe),
Bruce Ritchey(Reuben Widdicombe), Gloria McGehee(Mattie)
Running time: 102 minutes
Faces (filmed 1965; released 1968)
Screenplay: John Cassavetes
Photography: John Cassavetes, Al Ruban, George Sims
Editors: John Cassavetes, Al Ruban, Maurice McEndree
Producers: John Cassavetes, Maurice McEndree
Cast: John Marley(Richard Forst), Gena Rowlands(Jeannie Rapp),
Lynn Carlin(Maria Forst), Seymour Cassel(Chet), Fred Draper(Freddie),
Val Avery(Jim McCarthy), Dorothy Gulliver(Florence)
Running time: 129 minutes
Minnie and Moskowitz (filmed 1971; released 1971)
Screenplay: John Cassavetes
Photography: John Cassavetes, Alric Edens, Arthur J. Ornitz, Michael
Margulies
Editors: John Cassavetes, Robert Heffernan
Producer: Al Ruban
Cast: Gena Rowlands(Minnie Moore),Seymour Cassel(Seymour Moskowitz),
Val Avery(Zelmo Swift),John Cassavetes(Jim), Elsie Ames(Florence),
Tim Carey(Morgan Morgan)
Running time: 115 minutes
A Woman Under the Influence (filmed 1972; released 1974)
Screenplay: John Cassavetes
Photography: John Cassavetes, Caleb Deschanel, Tim Ferris
Editors: John Cassavetes, Tom Cornwell
Producer: Sam Shaw
Cast: Gena Rowlands(Mabel Longhetti), Peter Falk(Nick Longhetti),
Katherine Cassavetes(Mama Longhetti), Lady Rowlands(Mabel’s mother),
O.G. Gunn(Garson Cross), Eddie Shaw(Doctor Zepp), Mario Gallo(Harold
Jensen)
Running time: 147 minutes
The Killing of a Chinese Bookie (filmed 1976; released 1976
and again in 1978, in a completely reedited print)
Screenplay: John Cassavetes
Photography: John Cassavetes, Frederick Elmes
Editor: John Cassavetes
Producer: Al Ruban
Cast: Ben Gazzara(Cosmo Vitelli), Azizi Johari(Rachel), Meade
Roberts(Mr. Sophistication), David Rowlands(Lamarr, the chauffeur),
Marty Reitz(Al Ruban), Tim Carey(the white-gloved gangster), Virginia
Carrington(Betty), Alice Freeland(Sherry), Donna Gordon(Margo)
Running time: 135 minutes (1976); 108 minutes (1978)
Opening Night (filmed 1977; released 1978 and withdrawn; re-released
1991)
Screenplay: John Cassavetes
Photography: John Cassavetes, Al Ruban
Editors: John Cassavetes, Tom Cornwell
Producer: Al Ruban
Cast: Gena Rowlands(Myrtle Gordon), John Cassavetes(Maurice),
Ben Gazzara(Manny Victor), John Blondell(Sarah Goode), Zohra Lampert(Dorothy
Victor), Paul Stewart(David Samuels), Laura Johnson(Nancy Stein)
Running time: 144 minutes
Gloria (filmed 1980; released 1984)
Screenplay: John Cassavetes
Photography: Fred Schuler, John Cassavetes
Editors: John Cassavetes, George Villasenor
Producers: John Cassavetes, Sam Shaw
Cast: Gena Rowlands(Gloria), John Adams(Phil Dawn), Julie Carmen(Jeri
Dawn), Buck Henry(Jack Dawn), Janet Rubin(Female cabbie), Basilio
Franchina(Tony Tanzini), Asa Adil Qawee(East 104th Street cabbie)
Running time: 110 minutes
Love Strems (filmed 1983; released 1984)
Screenplay: John Cassavetes, Ted Allen
Photography: John Cassavetes, Al Ruban
Editors: John Cassavetes, George Villasenor
Producers: Manahem Golan and Yoram Globus
Cast: Gena Rowlands(Sarah Lawson), John Cassavetes(Robert Harmon),
Diahnne Abbot(Susan), Seymour Cassel(Jack Lawson), Margaret Abbot(Margarita),
Jakob Shaw(Albie Swanson), Joan Foley(Judge Dunbar), Risa Martha
Blewitt(Debbie Lawson), Doe Avedon(Mrs. Kiner)
Running time: 141 minutes
Other
It’s Wonderful Life(1946)
Director: Frank Capra
Screenplay: Frances Goodrich, Albert Hackett, Frank Capra
Photography: Joseph Walker
Editors: William Hornbeck
Cast: James Stewart(George Baily), Donna Reed(Mary Hatch), Lionel
Barrymore(Dr. Potter), Henry Travers(Clarence), Beulah Bondi(Mrs.
Bailey), Gloria Grahame(Violet), Thomas Mitchell(Uncle Billy)
Running time: 129 minutes
Rebel Without a Cause (1955)
Director: Nicholas Ray
Screenplay: Nicholas Ray
Cast: James Dean(Jim), Natalie Wood(Judy), Sal Mineo(Plato), Jim
Backus(Jim’s father), Ann Doran(Jim’s mother),Corey Allen(Buzz),
Edward Platt(Ray), Dennis Hopper(Goon), Nick Adams(Moose), William
Hopper(Judy’s father)
Running time: 111 minutes