Cassavetes: Legacy of a Film Maker

A friend died the other day. Something in me died too. We shared the agony we all feel at the enormous inertia of “status quo.” We also shared in the excitement of manifesting the antithesis.

In 1956 in New York City an experiment began. Acknowledged first in Europe as “a new movement in American film,” John Cassavetes’ experimental film “Shadows” today still slices through the slick Kodachrome image projecting from production centers to bring viewers closer to the grainy reality of life.

Uncompromising in its intention to expose the underside of every moment, the film reflects first the cynical humor and cocky fearlessness of its originator; then finally it fills itself out with performances drawn from hope and ambition, coupled with an indelible stamp of eagerness.

John Cassavetes inspired people to believe they could overcome the odds to be seen and heard--to make a difference in the scheme of things. He made such a difference in the world of motion pictures.

Undaunted by (but not totally immune to) criticism, Cassavetes continued to make films according to some inner conviction. That his films stand apart but undeniably significant through a 30-year period is testament also to his ability to drive or lead people to exhibit a common denominator . . . to “do the best you can and damn the difference!”

As we planned and prepped our second film together, we listened intently as a top “Hollywood attorney” reflected for a moment before telling us, “What you have in mind to do cannot be done. Forget it!”

John and I looked at each other and knew . . . we could do it!

That film was “Faces.”

A friend died the other day.

Something in me died too.

MOE McENDREE

Carnation, Wash.

McEndree was producer and editor of “Shadows” and “Faces.”