LOVE STREAMS (Cassavetes, 1984)
Criterion Collection, Blu-ray, Release Date August 12, 2014
Review by Christopher S. Long
Like many of the characters in John
Cassavetes' films, Sarah Lawson (Gena Rowlands, Cassavetes' wife) is
all impulse and no filter. To want or to need is to act immediately
on that desire with no thought given to context or to consequences.
In an early scene in “Love Streams” (1984), poor Sarah cannot
even keep her thoughts to herself for the few minutes needed to get
through a divorce hearing; the sympathetic judge about to grant her
custody of her daughter has second thoughts when Sarah begins
rambling about her fondness for attending funerals along with a
barely-formed plan to relocate.
Sarah's act of self-sabotage is a daily
occurrence, the sort that makes the people around her (as well as the
film's viewers) cringe in embarrassment and also sigh with
exasperation. She leaves the kind of mess that requires everyone else
either constantly to clean up in her wake or to abandon her
completely, the latter choice rendered more difficult by the fact
that Sarah refuses to abandon anyone, certainly not her family. For
her, love is “a stream – it's continuous” and she's fully
prepared to drown if need be.
Los Angeles-based writer Robert Harmon
(John Cassavetes) lives out loud too, but he's fashioned a
responsibility-free life that enables him to do so without judgment.
It also helps to be a man. The film offers an implicit commentary
about gender inequality by contrasting the fate of these two
peas-in-a-pod. Where Sarah has been institutionalized and labeled an
irresponsible mother, similar impetuous behavior merely marks Robert
as an eccentric whose bluster and faux-machismo are just part of the
bachelor artist's lifestyle.
While Sarah must see a psychologist,
Robert, who almost always clutching either drink or a cigarette (or
both), is free to spend his nights on the town or servicing the harem
that takes up temporary residence in his home (the real-life home of
Cassavetes and Rowlands) . The unexpected arrival of a son he
abandoned before birth causes only the slightest ripple in Robert's
“stream” and it surprises nobody that the boy's first full day
with dad ends with tears. Robert feels deeply and sincerely guilty
about it, at least until he can drive away and put the experience
behind him.
About an hour into the movie, Sarah and
Robert finally meet up. It is a long-delayed reunion, but their
relationship is not specified until much later so I won't spoil it
here. These two volatile personalities simultaneously spend the
second half of the movie alternately clinging to and careening off of
each other. Robert's instinctive response on seeing Sarah for the
first time in years is to crush her in a bear hug, but just moments
later he spontaneously decides to take a trip to Las Vegas and leaves
her alone in the house. This caprice makes perfect sense to Sarah who
thinks nothing of calling a cab simply to take her... somewhere. The
specific destination will reveal itself whenever it does. A bowling
alley? Sure, why not a bowling alley?
To say the least, Sarah lives in the
moment and Gena Rowlands' intense, fully invested performance has won
many admirers. In an excellent feature included on this Criterion
disc, critic Sheila O'Malley explains the appeal of the performance,
noting that Rowlands treats the stakes in every single scene “as if
her life depended on it.” She does not merely want, she wants so
desperately she will do anything to achieve her goal, whether it
involves trying to bowl a strike, choosing a pet, or convincing her
daughter and husband to return to her. Acting for Rowlands here is
not being, but doing. Sarah always rolls her eyes or clutches her
hair or bites her lip as she rockets from crisis to crisis, and her
only way of dialing it down is by literally passing out. It's an
energy Rowlands somehow maintained in just about every John
Cassavetes film in which she appeared.
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Rowlands, Cassavetes and a friend |
What Rowlands and Cassavetes (his
Robert is only slightly more restrained than Sarah) achieve here is
impressive for its sheer force of will and its sustained ferocity,
but it's not suited to my taste. I'll return to O'Malley's insightful
commentary again. Talking about Rowlands' performance in “A Woman
Under The Influence” (1974), O'Malley describes it as Cassavetes'
indictment of those who “recoil from human beings who (are) 'too
much.'” I accept my indictment. I recoil.
“Love Streams” was the last true
John Cassavetes' film, marking the end of a career that completely
reshaped the landscape of American independent film. It's also the
final chapter of one of the most memorable director-actress
collaborations ever.
Video:
The film is presented in its original
1.85:1 aspect ratio. “Love Streams” has been unavailable on a
Region 1 DVD until now, which seems like it shouldn't be possible, so
any release is welcome but Criterion has, as usual, done a nearly
flawless job with this presentation. The 1080p transfer flexes its
muscles with exceptional image detail, most noticeable in the many
close-ups. In a film that closely observes every tic and gesture and
expression, the detail is essential, as is the rich grain structure
visible throughout. Colors are full and naturalistic. No problems at
all.
Audio:
The linear PCM Mono track is sharp and
distortion-free. The lossless audio isn't that dynamic but also isn't
meant to be. All dialogue is clearly recorded and the music (original
score by Bo Harwood) is well-presented. Optional English subtitles
support the English dialogue.
Extras:
Criterion has more than made up for the
long-time unavailability of this film on DVD or Blu-ray.
The film is accompanied by a new 2014
commentary track by Michael Ventura, author of “Cassavetes
Directs.” Ventura had back-stage access to the production and
offers plenty of detail here.
I've already mentioned the feature
“Watching Gena Rowlands” (24 min.) Critic Sheila O'Malley
provides an insightful and heartfelt appreciation of Rowlands' work
not just in this film, but in all of her work with Cassavetes. If you
only have time for one feature on this disc, watch this one.
The disc also includes interviews with
cinematographer Al Rubin (2014, 18 min.), actress Diahnne Abbott
(2014, 13 min.) and actor Seymour Cassel (2008, 12 min.)
The lengthiest feature is “'I'm
Almost Not Crazy' - John Cassavetes: The Man And His Work” (1984,
56 min.) This documentary, directed by Michael Ventura and shot
during the making of “Love Streams,” includes interviews with
Cassavetes, Rowlands, the recently deceased producer Menahem Golan,
write Ted Allan, and others. The “real” Cassavetes is every bit
as intense (or “too much”) as the characters he played and the
ones he wrote and directed. I have no idea how a person can expend
that much energy.
The disc also offers a Trailer (3 min.)
The 28-page insert booklet includes an
essay by critic Dennis Lim (who included “Love Streams” as one of
his Top Ten film in the 2012 “Sight & Sound” poll) and a
piece on the film by John Cassavetes that was originally published in
the New York Times on Aug 19, 1984.
Final Thoughts:
While it is not a personal favorite, I
know that “Love Streams” will finish atop many lists of best
Blu-ray releases of 2014, both because it is greatly admired and
because it somehow has not been available on Region 1 DVD until now.
Criterion has provided an excellent transfer and a stacked roster of
extra features that should please any fan.
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