El asesinato de un corredor de apuestas chino

I've shown this movie to baffled girlfriends and eye-rolling friends who've left the room after twenty minutes. The picture was essentially unreleased upon its completion in 1976, and is now available on video only because of the retrospectives of Cassavetes' work that followed his death. The movie is considered bewildering even by many Cassavetes champions, but for me it ranks among the greatest American movies. As Cosmo Vitelli, the strip-joint owner who's a clown who thinks he's a king, the sublimely reptilian Ben Gazzara leans into an offstage mike and tells the audience, "And if you have any complaints--any complaints at all--we'll throw you right out on your ass." Like Jake LaMotta, or Ferrara's Bad Lieutenant, Cosmo is a walking aria of male self-destruction. He finally pays off the shylocks he's in hock to for his place--the Crazy Horse West--and celebrates with a gambling spree that puts him right back where he started. To pay his debts, Cosmo agrees to murder a Chinese kingpin the L.A. mob has marked for death--but that only gives the barest indication of the strange, ecstatic poetry of Cassavetes' greatest and farthest-out-on-a-limb movie. The movie is a strangely crumpled form of film noir; a classic Cassavetes character portrait, with more than the usual romanticism and self-disgust; a super-subliminal essay on Vietnam and Watergate; and an example of a one-of-a-kind lyricism that's closer to 2001 than a gangster picture. With its odd rhythms, Warholish color and substance-altered performances, it's one of the rare movies for which there exists no point of comparison.

A movie which a friend from a film class in university hated so much she broke up with her boyfriend because he liked it, "The Killing of a Chinese Bookie" became my first Cassavetes film when I watched it this morning. Widely seen as a misfire on release, extremely divisive now, with many regarding it as a self-indulgent experiment of the very worst variety and others as one of the greatest examples of independent American cinema in the 1970's, my take on "The Killing of a Chinese Bookie" is somewhere between the two extremes.

It's an admirable film in concept, a sort of gangster movie focused entirely on characters, with very natural dialogue (surprisingly most of it was scripted, I would've guessed it was improvised for the most part) and some interesting visuals, as interesting as Cassavetes could manage with his miniscule budget anyhow. Yet much of the time it doesn't just seem like wanking, it IS wanking. Moreover, for all the hoopla over how formally interesting the movie is it's barely even all that cinematic, seeming more like experimental theater at times. Ben Gazzara is terrific, the saving grace of the film and the only thing which I really cared about while watching it. With a mildly interesting but still amateurish director helming the movie this couldn't be the sort of thing it wants to be. If it is not visually sophisticated, if the visual storytelling is not strong enough, it needs narrative pull from the script. It doesn't have any. Moreover, it's a character piece in which none of the characters are even remotely interesting, unless you're the sort who pats films on the back for daring to portray a character who has a certain occupation as something other than an archetype.

Now of course I will get people telling me I'm an absolute moron and can't handle anything slow or lacking in explosions and cleavage, but many times during "The Killing of a Chinese Bookie" I couldn't help but think back to "The Conversation". That's a 'slow' movie not dissimilar to this in some respects. That's also a great movie. This isn't. I think it's pretty easy to explain that as the difference between sophisticated craft and amateurish, occasionally interesting craft. The 1976 cut is a chore to sit through, and I don't think I'll ever bother with the 1978 cut.

'The Killing Of A Chinese Bookie' is one of the most interesting and original movies I've ever seen. I would include it with movies such as 'Blow Up', 'Performance' and 'Eraserhead', which may not have much to do with each other on the surface, but are what I would call puzzlers. On first viewing you go "well, it was different... I'm not sure if I LIKED it, but it sure was original..." Then later you find yourself haunted by it. You go back and watch it again and again, and each time you discover some nuance or emotion or idea, or a certain scene or line that resonates. These movies are ones that STAY with you.

The plot of 'Bookie' is pretty straightforward. A strip club owner gets into debt with the Mob and is pressured into murdering a bookie. Other directors such as Scorsese or Frankenheimer or Friedkin or Mann could have made an tight, exciting thriller out of such a plot. But John Cassavetes goes for a completely different approach, and doesn't play by "the rules". He ignores the obvious way of proceeding, slows things down, focuses on characters and relationships and moments, and ends up with a cinematic poem.

That may sound pretentious to some, so be it, but that's what it is. The beauty of the photography combined with the improvised dialogue by some of the best character actors of American post-War movies (Gazzara, Cassel, Carey), makes this movie unique. There's nothing quite like this movie, and it's one that if you sit back and just let it do its thing, will remain absolutely unforgettable.

One of the 1970s greatest achievements.

A film like John Cassavetes' "The Killing of A Chinese Bookie" is one of those films that Roger Ebert often says "either grabs you or leaves you". This one grabbed me. It is perhaps the least liked film of the precious few Cassavetes wrote and directed, but it's an honest film that doesn't pull any punches. It's kind of a predecessor to "Goodfellas" and "Casino".

While Cassavetes' film lacks the polish of the two Scorsese films, I think that benefits "Killing". This is not a glossy, "high-concept" film that Hollywood prefers (although Scorsese is certainly not "high-concept"); it is a rough, confusing muddle and that is probably one of the reasons the film remains highly unseen by a great many people. However, I like rough, confusing films and one of the great pleasures is trying to figure everything out. The beauty of a John Cassavetes film is that there are no easy answers and he likes you to make your own reading on the film.

As always with a Cassavetes film, he gives juicy parts to his regulars. Ben Gazzara is excellent as Cosmo Vitelli, the nightclub owner who needs to perform the title deed to save his club. Seymour Cassel gives a strong performance as a friend of Cosmo. Cassel and Gazarra are two of those actors whose names you won't recognize, but when you see their faces, you'll recognize them. They love to take risks with their performances and you can see the payoffs for yourselves.

After a half-assed release by Buena Vista in 1989, "Killing of A Chinese Bookie" is finally available on tape and DVD from Anchor Bay Entertainment. The transfer is clean and looks great and the letterbox presentation shows that Cassavetes knew how to use his camera, even if the aspect ratio is small.

John Cassavetes is widely regarded as being the father of American independent film. Using his fees as an actor in films such as "The Killers" (1964) and "Rosemary's Baby" (1968, he funded his own films away from the interference of Hollywood. In this film, Ben Gazzara plays Cosmo Vitelli, a nightclub owner who lives way beyond his means and manages to get into a massive gambling debt with the mob. This leads to the gangsters putting heavy pressure on Cosmo to perform a hit for them in order that he pays back the debt. The film deals with Cosmo's attempts to extricate himself from these proceedings whilst still keeping his integrity, not to mention his life intact.

The film can be seen as having parables with Cassavetes own dealings with Hollywood studios and his attempts, not unlike those of the films protagonist to keep his integrity and his artistic vision intact. The film is a classic example of 70's American cinema when the old studio system had collapsed and filmmakers had the freedom to make whatever films they liked no matter how personal or non commercial they might seem. This is a truly great film.