Blues di mezzanotte

I suppose one might consider this 'minor' Cassavetes, given the fact that this is a very conventional story about jazz musicians and a woman who has been misused by men all her life. The production values also seem a little lower than some of his other films. But I can't help but feel astonished over how Cassavetes can make a meal out of just a few crumbs. Actually, he had more than a few crumbs. He had an excellent cast, headed by two extremely talented and wayward (!) actors. I'm in awe of how amazing Stella Stevens was, given the quality of the rest of her career. She certainly took a bad turn somewhere, but perhaps like her character in this film, no one ever took her seriously in the first place. A real shame! I saw Bobby Darin give an excellent performance in a film called PRESSURE POINT from around the same period as this film, so he has only confirmed my belief that he could have been a leading actor of his generation. But Cassavetes could probably even make me a good actress, so certainly he qualifies for a good deal of the credit here. This is just a small, human film with dignity and intelligence told with Cassavetes' usual panache for intensity. I can't remember how long it's been since I've cared about any screen characters so strongly. It was probably the last time I caught one of Cassavetes' other films!

This may be the best movie ever made about jazz, at least by a mainstream Hollywood company. John Cassavetes had not yet dropped out of the L.A. scene to write and direct his own indie movies, and Too Late Blues represents one of his final attempts to try and do something different and ofbeat within the framework of The Big Time of movie-making. He pretty much pulls it off, with only one problem - because he and the film company refused to pull any punches, and offered a realistic rather than a romantic portrait of the jazz scene, what they ended up with was a pretty fine movie that was so totally depressing, no one wanted to go see it. Bobby Darin, just then trying to kick off a movie career a la his idol frank sinatra, plays the lead, "Ghost," a talented jazz musician with a fine band that just might make waves as they refuse to compromise for commercial success. Then Bobby meets a depressed but gorgeous young blonde (Stella Stevens, the most underrated actress of her generation) and shortly will do everything and anything he needs to do to win her. She's no simple femme fatale, though, and the full dimensionality of her character is essential to why the film clicks - in a notably downbeat way. As Bobby must choose between getting the girl or getting the gigs, he faces the great threat of every artist, jazz or otherwise. The mood and atmosphere is vivid, convincing, memorable in a noir kind of way. Catch this if you want quality - but not if you want some easy going escapism.

In one mindset, we can understand the metaphor of pushing against, wavering, finally giving in to Hollywood, and give credit for eloquently depicting that through a musical feast for the senses.

That being said, without actively thinking about this, it only made for another metaphor that isn't so attractive: a story that took its sweet time to take one tentative step forward, not going anywhere for quite some time and, unable to make that second step, instead takes two confident steps backwards.

Meanwhile, yes, a black and white beauty and the music was delightful, but unless you are thinking about it within an academic framework, Cassavettes' "Too Late Blues" is an overall disappointing viewing experience for the traditional viewer.

"Too Late Blues" is Cassavettes' most self referential film and it is a gem. And now that we know that Gena Rowlands continually tried to manipulate editing and versions of Faces, Husbands and especially Shadows editing to make them more commercial (see Ray Carney's exploration of that issue) it is almost spooky to see her simile in Too Late

This is a very good jazz film, bringing the whole era to life, thanks to some superb acting by Bobby Darin (thank you thank you Montgomery Clift for backing out at the last minute) and the stunning Stella Stevens (why was she not a major star?). It certainly is not "the best jazz film ever" as some critics have said - "Round Midnight" and "Bird" are infinitely better films. But it's a quirky one, nonetheless. Darin plays jazz pianist and bandleader Ghost Wakefield (was that not also a make of aeroplane?), who is highly idealistic and loves a mellow, instrumental type of jazz. He falls for floozy Jess Polanski (Stevens) and ends up having to decide whether to continue to play on bandstands to empty parks (save for the birds), and old people's homes and orphanages, or compromise his type of jazz and play instead a more commercial type blues. He clearly makes the wrong decision. The hardest thing about this film for me was that I actually prefer the blues-type jazz he was shunning, as will probably most of the audience of this film, but that is irrelevant to our enjoyment of this film: "Too Late Blues" is a film about a stubborn man who is always "too late", because of his abject stubbornness. But there's more to his character than that: he cuts a rather pathetic and therefore lifelike character throughout, but ultimately his stubbornness is so infuriating that we cannot help but sympathise with the other bandmembers, and Jess, more than with the hero (Ghost). Is this a failure in this film? Perhaps it is. Which is why I cannot agree that it is the best jazz film ever. It is certainly a good one, though; although there could certainly have been a little more music in it. And certainly more of Stella Stevens's singing - if indeed that is her voice ("Girls! Girls! Girls!" is normally credited with being the first film in which Stella Stevens sings, which was the following year....) "Too Late Blues" deserves a decent DVD release ASAP - perhaps with a Stella Stevens commentary. Hope you're reading this, Paramount!