Interesting to see the development of Cassavetes here, working with commercial pop stars Bobby Darin & Stella Stevens and infusing their relationships with a depth that probably wasn't expected by the target audience for this picture. Doesn't have the rawness of SHADOWS, but Cassavetes completists (like myself) will want to see it anyway. Like listening to a Beatles Hamburg tape, sparks of brilliance to be found. 3.6
It is as messed up as quote "All I can do is what I know best" (!?) screaming from it's release poster. Insight in underground jazz scene offering Darin's weirdo performance and a plot that's really hard to get into. Seems Cassavetes worked better when improvising along the way.
Highly atmospheric, it nicely captures a (Hollywood-ised) sense of the white jazz counterculture. Bobby Darin gives a wonderfully nuanced performance and Cassavettes facilitates some great extended ensemble scenes. This helps the film explore something much more complex than just art v sellout - there is a real sense of his characters existing on the edge of the abyss.
I must admit that I'd never seen a Cassavetes film until this one. Too Late Blues is a classic tale of artistic integrity - stick to your principles or bend to a higher power for success. Bobby Darin excels as 'Ghost' trapped in this dilemma, leaping between affability and sheer menace. The film always feels alive, which drives the story, as boisterous staging and close ups help bring the characters to the fore.
Good image and both static and dynamic composition, interesting psychological treatment of characters, some great depiction of domination/submission/pride dynamics in relationships. The story itself feels a bit of an excuse, or maybe I missed the point. Ohh, and the music, obviously.
I loved this film. Can it be called innocent with all that aggro and heartbreak in it? Yes I'd say so. Emotions come through as not tainted by mechanical treatment of any kind. Loved the fun in the Park and the kitsch ending because it was more healing than kitsch. Thanks.
It's a simple enough story, but it feels emotionally genuine. The volatile band dynamic and love story could easily be transposed to a modern day rock band; it's a timeless tale. SPOILER: The finale reminded me of the ending of 'Frank', in the music-trumps-all resolution. I wonder what happened when the song was over.
I found this film to have an odd underlying feeling of threat throughout "Princess" seems to be on valium the whole time, the agent looks on the edge of killing someone, and Ghost, well, he just wants to make his music his way, you dig? The music he makes with Princess "singing, not singing" sounds like something from planet Volcan where you'd expect to see a green woman dancing. You dig?
Apart from an impressively cool jazz soundtrack, this is a long film which feels like a stage play, with mainly Americans shouting at each other and/or fist fighting. One more time guys! "No! I said 'No!' Now gettada here. You hear me?" etc, etc. Women's belted raincoats by Burberry. Lung cancer years later by Nicotine. Thank God rock and roll came along to clean up this shit.
Como en "Sombras", Cassavetes reúne a un grupo de personajes apasionados por el blues/jazz, pero a diferencia de su ópera primera, en esta la frustración artística es más recalcitrante. El director gesta a un protagonista con talento aunque obstinado a crear una burbuja para con su alrededor, autocalificándose como individuo subvalorado. El resultado serán conflictos personales. El filme es también un gran melodrama.