I tried to see this movie once, but the DVD that was delivered to me by mail had a dent in it. My experience with Blockbuster Online was so frustrating at the time that I just reported the problem and requested that they send my next movie. I am no longer with them, and still haven’t seen Mikey and Nicky.
Nathan – I would highly recommend you check it out. I’m not sure if you’re a fan of Cassavetes films but Mikey and Nicky deserve to sit next to them on the shelf. I know I sometimes go off on these rants about how much I love Cassavetes (and it’s a very cliche thing to do so I’ve been trying to refrain myself) but I think this film gets unduly forgotten for whatever reason. Maybe it’s because they hate Elaine May, maybe it’s because technically Cassavetes didn’t direct it, but whatever the reason is, this film deserves a wider audience. Maybe if Criterion would release it, people would take some notice.
I’ve heard the comparisons to Cassavetes before. As far as I’m concerned, he’s a great director, but he’s also a director that I need to be in a very specific mood for. In that respect I sort of need to wait on Mikey and Nicky. I’ll strike when the proverbial iron is hot.
I love Mikey and Nicky. It’s as good as most of Cassavetes 70’s work. In fact, I’d argue that it manages to do Cassavetes better than Cassavetes (especially if you compare it to a similar work like The Killing of a Chinese Bookie). It’s pitch perfect. Perhaps because Elaine May went on to do Ishtar, it’s more neglected than it should be.
I love this film. The spontaneity of it makes it a complete experience. I’d have to consult Ray Carney on this, but I suspect Cassavetes shaped this thing in significant ways. That bit about Cassavetes and the headlights is terrific (could he really not have known that?).
Now, Fredo, my man, you would take Mikey and Nicky over Opening Night and Chinese Bookie? You’re not gonna get away with that without some amplification, and I know you’ll do better than, “Well, I just like it.” So, the floor is yours, sir…
“That bit about Cassavetes and the headlights is terrific (could he really not have known that?).”
I think he really didn’t know they wouldn’t get an exposure. I think he thought it would be fine (which is hilarous!). I’m sure he was completely embarrassed because they had to reshoot the whole scene.
I was not impressed with Chinese Bookie. Part of it may be that Gazzara is probably my least favorite Cassavetes actor (I mean, I still love him, especially in Husbands, but not as much as Falk, Rowlands, Cassell). The movie itself feels very conflicted – is it a gangster picture, is it a Cassavetes character piece? I feel like there was the possibility of too much plot lingering around that it screwed with my head and not something I’m used to when watching one of his films. Out of all of Cassavetes films that I’ve seen, this is my least favorite (have not seen Moskowitz, Gloria, Love Streams).
Opening Night is a good film specifically because Cassavetes is in it with Rowlands. It’s really cool seeing them work together. Unfortunately, because Rowlands is the star, it’s difficult for me to not make the comparion to A Woman Under the Influence (which isn’t fair obviously since they’re two different films). But A Woman Under the Influence is a much stronger film, particularly because Rowlands character is much more active. I felt like her character in Opening Night was very passive at times (it’s been awhile since I’ve seen it so I can’t give you a specific scene). But like I said, I like Opening Night but I would rate it below A Woman Under the Influence, Faces, Shadows, and Husbands. And I think I prefer Mikey and Nicky over it.
Mikey and Nicky is Elaine May’s film. I have a copy of the script. Cassavetes and Falk didn’t change a single word.
Not one.
The film is extremely important to May as it’s a recreation of an event that happened in her own family.
Remember the cemetery scene where Mikey and Nicky talk about their friend Izyy who gor scarlet fever and lost all his hair?
That’s Mike Nichols.
Some of that conflict you see in Chinese Bookie I see in Opening Night. When Myrtle becomes haunted by the dead young woman sending her over the edge in peculiar ways. It’s at that point that her behavior really gets interesting. She derails the play with her erratic behavior because the action doesn’t suit her. She begins to alter her relationships. It might be said that at that point she begins authoring her life. Art, as Cassavetes might say, is but an extension of all that. It makes for a strange film.
Chinese Bookie was subjected to so many edits (what else is new) it’s likely Cassavetes may have lost the plot. The actual killing scene is really strong. There is something indefinably strange Cassavetes gets there which is some of his best filming. We mustn’t overlook Tim Carey as a gangster, talk about strange! My only complaint with this film is that I could have used less of the onstage antics. I get the point of it all, I only wish he had cut some of it. For me, it’s one of the great gangster films. Beginning with the poetry of the title (the greatest title ever?), the film itself becomes a dense, poetic vision of a very specific milieu, and a study of one of the most complicated screen protagonists ever.
Very interesting, David. I guess it’s the behavior of the actors and their physicality, and they way May stays so close to the action, and Cassavetes lunatic energy, of course, that seems to spark the drive of this film. Of course, the work she did with Nichols as performers help seed the ground for this. But as a director you don’t see that from her again.
Her Heartbreak Kid..is one of the best comedies of the 70’s…
This movie is on my list, I just haven’t had the extra funds lately to buy it (since no Blockbusters around me have it and I don’t have netflix or anything)
KJ – Surprisingly, as big as a Cassavetes fan as I am, I’ve never seen any of his films more than once (with the exception of Husbands, which is sort of ironic since I don’t even own it – saw it at the Egyptian a couple years ago then watched it again when I was working on the DVD) and have been meaning to rewatch all the films in the Criterion box set. I will definitely give Opening Night and Bookie another shot, particularly now that I know what to expect.
And the title is a great one – the first film I ever made I titled “The Killing of a Chinese Adoption” as an homage.
You don’t see that from her again because she always defers to the rhythms of the actors. “The Heartbreak Kid” is dominated by Grodin. “Ishtar” by Beatty and Hoffman.“A new Leaf” by Walter Matthau. “Mikey and Nicky” by Cassavetes.
Also keep in mind that unlike her others it is NOT a comedy.
I love this movie. it IS unlike the other Elaine May films…I think it’s closer to a Cassavetes film myself…it has the look & feel of being very improvised. In addition to Cassavetes and Falk, there’s a terrific performance from Ned Beatty.
Mikey and Nicky an extraordinary film by the true auteur who can achieve a certain flatness that some viewers really appreciate and go where no other great director would dare tread—all of her films are very good, especially her one of a kind comedy A New Leaf with Walter Matthau and Elaine herself—you can not help but laugh at her and Matthau, a perfect imperfect couple! I even enjoy Ishtar with obnoxious Beatty and Hoffman, often on the list for 10 worst movies ever made—the movie has that flatness of humour that I find irresistible—most don’t! Unfunny can be very funny—she is the master of that.
Why isn’t A New Leaf on DVD? This doesn’t seem fair.
Life is unfair.
Did Fredo create this thread? In that case…
BUMP.
An amazing achievement that equals much of Cassavetes work.
I mean Mikey and Nicky, Fredo, not your thread, but that’s good too!
This A New Leaf Situation is enough to make me forget my rule about not buying VHS tapes.
Heehee
+1 for Mikey and Nicky being totally awesome. Also, The Heartbreak Kid is great.
Fredo: The movie itself feels very conflicted – is it a gangster picture, is it a Cassavetes character piece?
Read Ray Carney’s chapter on Bookie in “The Films of John Cassavetes”. He says, basically, that while Cosmo would like to believe he’s in a gangster picture, he’s actually in a Cassavetes character piece.
I liked Mikey and Nicky a lot, but fet a lot of it was marred slightly by the semi-embarassing 1970s funk score, specifically the final scene.
That music doesn’t kick in until after the action stops. The score was composed by John Strauss, a pretty legit composer in his time. What about it rang false to you?
It’s a shame May stopped directing. I’ve always assumed it was because of Ishtar but who knows…
That was part of it. Directing is very hard. Going back to scriptwriting has enabled her to revive her partnership with Mike Nichols
Because I assume you know David, was May influenced by Scorsese’s Mean Streets or the other way round? I can’t help but be reminded of Mean Streets when I watch Mikey and Nicky so I assume there’s some link, other than both being set in NY of course.
In response to Pierre’s question, I just felt the music dated the film slightly, and, in my own opinion, spoiled moments that would have been best left in silence. It’s alright at the start, as it adds to the feel of Nicky’s grubby surroundings and paranoia, but it did spoil the last few moments for me. I understand that it obviously doesn’t apply to everyone, though.
“Mikey and Nicky” is based on an incident that happened in May’s family. A relative of hers (an Uncle I believe) was in the mobs and taken out precisely this way — shot to death on his doorstep.
Therefore no “Mean Streets” connection whatsoever.
Fredo
There’s so much love around here for John Cassavetes but not many people mention Mikey and Nicky. What are your thoughts on this film? There’s a great story about this film where the DP, Victor Kemper, walked off the set and Cassavetes said it was fine, he’ll shoot the scene himself. Unfortunately it was the night scene with the car and Cassavetes thought the light from the headlights would be sufficient enough to get an exposure. He assured Elaine that it would be fine, he’d done it himself with his movies all the time, no big deal. Well, they get the rushes back and there’s no image. Completely black. Suffice to say, they got Kemper back.
Anyway, I love this movie. These two guys together are wonderful and I think May did a terrific job directing them. Elaine May comes from a similar school of directing as Cassavetes does (which is why Kemper walked) and I think the melding of their two talents really works here. Yes, it may not stand up to A Woman Under the Influence or Faces but it’s still a worthwhile film (and a film I would take over The Killing of a Chinese Bookie or even Opening Night).