Purely Joyful Movie!

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

While it doesn't offer any answers, it both thrills and makes you think.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

This is the film that nearly broke Cassavetes for good. It played in a single LA theater for a few weeks to empty seats before being shelved, never really opening. People would not have flocked to see it but it must have been dismay that shakes you to your core, to go through all this work and just shelve it at the end. In a few years time it would be playing in MoMA.Cassavetes' whole project of making films is one of the most fascinating in the medium. We have only tidbits on screen really. The rest is tucked away in the filming process that went into discovering each film. It's in the hours of footage he never used. The four hour versions of Husbands and Woman we'll never see. His struggles to make each one are comparable to Welles, remarkable men both.The story goes that he was so spent after making Woman that he was never the same again. He had said his piece and in the most pure way possible. Before and after are iterations of the same way of seeing anyway, as is always with makers who have something to impart and don't just show up for work. But he was fervent to keep going: he used the profits from that film to make Chinese Bookie and this out of pocket.Bookie saw him reflecting on his own place as proprietor of lively improvisations while having to deliver a gangster plot to appease money men. It was not just cynical work. It was a meditative search for a true face from among different masks; suave playboy, entertainer, killer. It continues here, the same business with roles and faces.As always, actors fumble and fret within the constraints of a story imposed on them. The camera swims as one of them would, as if culled from inside an actor uncertain about his presence, losing and finding again. The whole has that thick, viscous quality I love about him, it demands concentrated staying in that space where nothing is yet decided. This is Cassavetes' room. By this point you'll know whether you like it or not. This is about an actress asked to go into that room and portray a role: woman pushing forty, childless and unmarried. It's for a play they're preparing for New York out in the sticks. She is all of those things in "real life" so what would make better sense than to portray truthfully?But this is the whole thing with Cassavetes, why you deserve to have him in your life above all those other filmmakers who mollycoddle you with redemptions. With him truth is something you set out to find by shedding self, it's not handed down by any role and you have to make sure of that. It's what you find after you have stopped tossing the room for it. After words and guises have been peeled back, what is there? This whole film is about an actress, Rowlands, fighting to shed that self that stands in the way of true expression. The play role expects middle-aged desperation about life, self- pity. Melodrama stuff. But she can't do it, won't. She could tap into those parts of herself but that would be giving into those parts, nurturing them, conceding to be the person the story says you must be.So she won't do it. People plead with her, cajole, scold or lecture her but nothing does it, she is adamant. It has a few blunt devices along the way: seance and ghost of a younger self. Her refusal to do the sensible thing aggravates. In the all important premiere she finally arrives late and drunk and everyone concedes that it's not going to happen.All of this ribs on Cassavetes own method of sustained, structured collapse where the point isn't to use actors to convey certainties of drama, it's to use drama to chisel the persons who will live through its effect on them. Whatever that comes to be. It all has to arrive to a point of intense uncertainty. A cessation of thought so that things will be free to mean themselves.You'll see what he does in the end. It's Cassavetes and Rowlands on a stage in a culmination of a parallel life in which they never married. It's marvelous. It doesn't really work and you will probably note that he misses. But if you're someone who tries to be the person you truly feel in your heart to be, you will rejoice to see the baring and nothing pretty, sad or redemptive salvaged out of it so we'll applaud. It's the reach that drives it, the transcendent reach for that idea all about masks dropping and having to face yourself bare, and in his reach he is as vast as Tarkovsky.

Watching John Cassavetes film, Opening Night, I was reminded of something that Quentin Tarantino said once in an interview about personal experience in being a creator of art or acting. He referred to an example of, say, if he ran over a dog while on his way to act in a play that it wouldn't be the end of his life but that it would affect him, and that, without a doubt, he would have to bring that experience with him on stage even if it was a light comedy. "Otherwise," as he said, "what am I doing?" I couldn't help but think of his words when watching Gena Rowland's character, Myrtle Gordon, who for almost a whole week or so goes through a very similar scenario. There is more to this in Cassavetes' film, of course, since it's about how the theater works around a star actress, what emotion and human nature mean when looking at playing a character, and how one lives when all one has (like Myrtle Gordon) is the theater.Near the beginning of the film, after exiting a performance, Myrtle is signing autographs and one such fan named Nancy comes up to her favorite star and pours her heart out to Myrtle. It's a touching little moment, but it doesn't last as she has to get in the car (pouring rain and all). She then watches in horror as the girl, who stood right next to the car as it drove off, gets hit by another car in an auto accident. She's not sure really what happened, but then finds out the next day that in fact the girl did die from the hit. From then on she's sort of stunned by this even after she thinks it's out of her system. At first this shows in small ways, like when she rehearses a scene with her fellow actor (played by Cassavetes) and can't seem to stand being hit - she blames it on the lack of depth in the character (the writer: "What do you think the play lacks?" "Hope," says Myrtle)- but then Nancy starts to show up to her, an apparition that to Myrtle is all to real, until she's suddenly gone.Cassavetes, as in the past films, is after a search for what it means to have emotion, to really feel about something and feel it, or the lack thereof, and how it affects others around the person. This isn't exactly new ground for Rowlands, who previously played a woman on the edge of herself in Woman Under the Influence (in that case because of alcohol), nor would it be alien territory for costar Ben Gazzara, who just came off starring in Killing of a Chinese Bookie. But the actors express everything essential to their characters in every scene; Cassavetes doesn't tell them how to get from A to B in a scene, and he doesn't need to. There's a mood in a Cassavetes film that trumps the sometimes grungy camera-work. You know Myrtle, for example, should be content somehow, even if it isn't with the plot. But she's haunted, and is unsatisfied with her character's lack of depth and the tone of the play ("Aging, who goes to see that?" she asks the playwright), and it starts to affect those around her too.The question soon becomes though not what is the usual. A conventional dramatist would make the conflict 'Will she be able to go on stage, will the show go on?' This isn't important for Cassavetes, even if it's there, as is the question 'Will she be alright?' Perhaps going through such a grueling play as "The Second Woman" could help her work out her personal demons and her losing her grip on reality (seeing Sara and attacking her in front of total strangers, who wonder what the hell is going on)? Or will the play's lack of hope strain everything else wrong with her? The depths Rowlands makes with her character are intense and harrowing, and that it's expected doesn't mean it's any duller than Woman Under the Influence- if anything, it's just as good as that film at being honest about a person in this profession, and consequently the other performances are just as true, from Gazarra to Nancy played by a subtle Laura Johnson. Cassavetes answers to his own posed questions aren't easy.One of the real thrills of Opening Night, along with seeing great actors performing an amazing script, is to see Cassavetes take on the theater the way he does. We see the play performed- and it's apparently a real play- and we only know slightly what it's about. When we see the actors on the stage performing it, we wax and wane between being involved in what melodrama is going on (relationship scuffling and affairs and the occasional slap and domestic violence) and the improvisation of the actors. I wondered watching how much really was improvised, how much Cassavetes allowed for the other actors to do in the scenes where Myrtle starts to go loopy or, in the climax, is completely smashed. He's on the stage, too, so it must have been something for them to work it out beforehand and let what would happen happen.It's funny, startling, chilling, and edge-of-your-seat stuff, some of the best theater-on-film scenes ever put in a movie, and we see the lines between actor on stage, actor on film, actor with actor, blur together wonderfully. Opening Night is a potent drama that is full of frank talk about death and madness, reality and fiction, where the love is between people, and really, finally, what does 'acting' mean?

"Opening Night" released in 1977, tries to be an ambitious production. It succeeds only in the truly stunning performance of Gena Rowlands. Her character of theatre actress Myrtle is not necessarily someone we would love in real life. She is self-absorbed, often obnoxious, and makes life miserable for those around her - in other words, not unlike some actresses! Myrtle is also a woman on the edge of collapse - we are not quite sure if the demons she is fighting are real or imagined, although we are let in on the secret early. Rowlands is obviously well directed with love by her gifted husband, actor/director John Cassavettes, who has a role in the film as well. This film is not without flaws - it is overly long, and the last part of the film where Myrtle goes on stage while very drunk seems almost cruel. The "improvising" in some of the dialogue - at least while on stage - goes on way too long. Some of the supporting characters give good performances, especially from Ben Gazarra, playing Myrtle's sleazy producer. Joan Blondell's character is never fully developed, and I never could figure out why she was in the film, except to placate Myrtle. See this film for Rowlands alone - she is fascinating throughout - and it is tough to take your eyes off her, although you will want to at times.

Many reviews here explain the story and characters of 'Opening Night' in some detail so I won't do that. I just want to add my comment that I believe the film is a wonderful affirmation of life.At the beginning Myrtle Gordon is remembering how 'easy' it was to act when she was 17, when she had youth and energy and felt she knew the truth. Experience has left her emotionally fragile, wondering what her life has been for and, indeed, if she can even continue living. A tragic accident triggers a personal crisis that almost overwhelms her.Almost - but not quite. At the eleventh hour she rediscovers the power of her art and reasserts herself ("I'm going to bury that bastard," she says of fellow actor Maurice as she goes on stage). It seems almost sadistic when Myrtle's director prevents people from helping her when she arrives hopelessly drunk for her first performance. He knows, however, that she has to have the guts to make it herself if she is to make it at all.Some critics wonder if this triumph is just a temporary pause on Myrtle's downward path. I believe this is truly her 'opening night' - she opens like a flower to new possibilities of life and action, she sees a way forward. It is tremendously moving.Gena Rowlands is superb. The film is superb. Thank you, Mr Cassavetes, wherever you are.