[go: up one dir, main page]

    Calendario delle usciteI migliori 250 filmI film più popolariEsplora film per genereCampione d’incassiOrari e bigliettiNotizie sui filmFilm indiani in evidenza
    Cosa c’è in TV e in streamingLe migliori 250 serieLe serie più popolariEsplora serie per genereNotizie TV
    Cosa guardareTrailer più recentiOriginali IMDbPreferiti IMDbIn evidenza su IMDbGuida all'intrattenimento per la famigliaPodcast IMDb
    OscarsEmmysSan Diego Comic-ConSummer Watch GuideToronto Int'l Film FestivalSTARmeter AwardsAwards CentralFestival CentralTutti gli eventi
    Nato oggiCelebrità più popolariNotizie sulle celebrità
    Centro assistenzaZona contributoriSondaggi
Per i professionisti del settore
  • Lingua
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Lista Video
Accedi
  • Completamente supportata
  • English (United States)
    Parzialmente supportata
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Usa l'app
  • Il Cast e la Troupe
  • Recensioni degli utenti
  • Quiz
  • Domande frequenti
IMDbPro

Blues di mezzanotte

Titolo originale: Too Late Blues
  • 1961
  • T
  • 1h 43min
VALUTAZIONE IMDb
6,8/10
1652
LA TUA VALUTAZIONE
Stella Stevens and Bobby Darin in Blues di mezzanotte (1961)
DrammaMusica

Ghost è un musicista ideologico che preferisce suonare il suo blues nel parco con gli uccelli piuttosto che scendere a compromessi.Ghost è un musicista ideologico che preferisce suonare il suo blues nel parco con gli uccelli piuttosto che scendere a compromessi.Ghost è un musicista ideologico che preferisce suonare il suo blues nel parco con gli uccelli piuttosto che scendere a compromessi.

  • Regia
    • John Cassavetes
  • Sceneggiatura
    • Richard Carr
    • John Cassavetes
  • Star
    • Bobby Darin
    • Stella Stevens
    • Everett Chambers
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    6,8/10
    1652
    LA TUA VALUTAZIONE
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • Richard Carr
      • John Cassavetes
    • Star
      • Bobby Darin
      • Stella Stevens
      • Everett Chambers
    • 19Recensioni degli utenti
    • 30Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Vedi le informazioni sulla produzione su IMDbPro
  • Foto68

    Visualizza poster
    Visualizza poster
    Visualizza poster
    Visualizza poster
    + 64
    Visualizza poster

    Interpreti principali28

    Modifica
    Bobby Darin
    Bobby Darin
    • John 'Ghost' Wakefield
    Stella Stevens
    Stella Stevens
    • Jess Polanski
    Everett Chambers
    Everett Chambers
    • Benny Flowers
    Nick Dennis
    Nick Dennis
    • Nick Bubalinas
    Vince Edwards
    Vince Edwards
    • Tommy Sheehan
    • (as Vincent Edwards)
    Val Avery
    Val Avery
    • Milt Frielobe
    Marilyn Clark
    Marilyn Clark
    • Countess
    James Joyce
    James Joyce
    • Reno Vitelli
    Rupert Crosse
    Rupert Crosse
    • Baby Jackson
    Mario Gallo
    Mario Gallo
    • Recording Engineer
    Alan Hopkins
    • Skipper Camez
    • (as J. Alan Hopkins)
    Cliff Carnell
    Cliff Carnell
    • Charlie
    Richard Chambers
    Richard Chambers
    • Pete
    • (as Richard O. Chambers)
    Seymour Cassel
    Seymour Cassel
    • Red
    Dan Stafford
    Dan Stafford
    • Shelley
    Allyson Ames
    • Billie Grey
    • (non citato nei titoli originali)
    Johnny Bangert
    • Umpire
    • (non citato nei titoli originali)
    Ralph Brooks
    Ralph Brooks
    • Party Guest
    • (non citato nei titoli originali)
    • Regia
      • John Cassavetes
    • Sceneggiatura
      • Richard Carr
      • John Cassavetes
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti19

    6,81.6K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Recensioni in evidenza

    chaos-rampant

    Hollywood limits of the New Thing

    A jazz musician with his group wants to be free to express himself and love his girl, not worry about settling down with a job. They play out in parks, goof around in bars and wait for their big break. Later when they go to the studio to record he says that he wants to play music he wants to and not what some producer thinks will make money, but in a fit of ego alienates everyone, yells his band away and wounds up alone as a sell-out auditioning for an upscale joint.

    And this was Cassavetes himself at this point in his life. He had played a jazz piano playing detective on TV a few years prior. He had made Shadows in a close group of friends, playing music he wanted to. It had taken him three years to finish, two shoots and no prospects were forthcoming. He had even managed to alienate his group over money when the first meager profits came in. So he wound up lobbying hard for a low budget job in Hollywood which he got to make this.

    Okay so we now know it as a mere footnote in the career of this man, but it's not bad at all; elicits strong performances, and has a voice that speaks about pressing needs, youth with no prospects. More interesting is how Cassavetes would expand in later years.

    The difference with Shadows is not in what it has to say, nor in the type of life, nor how it portrays sex and relationships. We see unsure youth in both. This was scripted, but so was Shadows. No, it's that he has been taken in from outside and that intangible studio quality zaps the whole thing of breath. He wanted real locations in New york, got studio space on a stage. He wanted actual jazz for the band, had to settle for watered down Hollywood score jazz by whoever happened to be on the payroll.

    Ironic. The film was made at all and Cassavetes hired to do it, because a producer wanted to see if he could cash in on the "art film" then taking flight, exemplified in Shadows, which no studio would deign to pick up. He knew close to nothing about making films of course, so if he is stifled, it's not in the way of Welles who had delicately conceived work botched after the fact. He simply doesn't have room to breathe shape in the discovery.

    That's all fine. He would take flight in a few years, nothing went to waste.

    A new expression was bubbling up around the country but fuddy daddies in control of industries still clung tenaciously to their outmoded ways. In music this is Aretha Franklin's Columbia records from the same period: powerful young voice stifled by cocktail arrangements. It would take the ugliest in a nation, rampant racism and war, for all these mores to be rolled back and dismantled, and that for a few brief years. Cassavetes would resurface during that time. What will it take now? Do we even have a New Thing?
    random-70778

    Cassavetes' own pressures on his art vs commercial success

    "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
    7Tristan!-2

    Desperately deserving of a decent DVD release

    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!
    dbdumonteil

    Between experiment and mainstream.

    Coming after "shadows" and preceding "a child is waiting" ,"too late blues" is some kind of arithmetic mean between them.Not overtly avant-garde ,but never really mainstream,unlike the 1959 movie ,it has a screenplay and most of the dialogues are not improvised:actually they sometimes seem "carefully" written.

    Stella Stevens gives a wistful sad performance ,diametrically opposite to later parts such as those of "girls girls girls" (!)or 'the silencers".Her singing -or that of the singer who dubs her?- looks like a moaning which stunningly blends with the boys' music.

    "Too late blues" keeps a rather loose plot,but "a child is waiting "would take its "conventional " side and tighten it up:as a result ,Cassavetes would disown "a child..." and go back to less accessible works such as his debut.
    8jzappa

    Another Oft-Misunderstood Cassavetes Film

    John Cassavetes creates an eternally unique drama with his chronicle of an idealistic jazz musician played by crooner Bobby Darin, and his relationship among his fellow band members and his object of affection, a beautiful would-be singer who comes between him and his band members, played by Stella Stevens in an honest, humanly extreme performance clearly directed by Cassavetes and cementing an argument that she could have held her own as a star.

    Darin, as Cassavetes surely intended, brings a realistic contribution to his character from his life in the world of the era's music scene, as a dogmatically philosophical band leader who takes tremendous pride in seeing a profound, transcendental beauty in a mellow, instrumental school of jazz that he, with the exasperated tolerance of his fellow players, finds ideal to play to empty parks to communicate with nature and birds when he isn't playing gigs at old people's homes and orphanages. What is irrelevant in this film is how we feel about the music he feels most personally in tune with (no pun intended) in comparison to the commercially accessible music that would welcome him into a successful career. Like all Cassavetes films, Too Late Blues is about a character whose proclivities are beyond us, and what keeps it from being subjective or affected is that the rest of the characters share our feelings.

    The key to our understanding and relating ardently to Darin's character is his unrelenting obstinacy, which becomes Bobby Darin uncannily, borne by the pride that absorbs all of his perceptions into what is of use only to him. As this dooming characteristic rears its head, an internal conflict between his true passions and what will gain him the recognition that deep down he wants more than anything else, we come to dislike him and find ourselves on the side of his band members and his girl Stevens.

    Full of far-seeing insight and relentless individuality, it is not well-recognized film, which in itself is a testament to the artistic truth it presents. This is in some sense a shame though, because it is really a moving film in spite of all the expectations accompanied by an audience's perception of a music film. There are many great scenes where we simply hang out with the band in their regular hang-out spot with an entertaining bar owner, or we indulge in their impulsive diversions, or we react in unusual ways and we must step out of our regiments and make an endeavor out of looking further.

    Altri elementi simili

    Gli esclusi
    7,2
    Gli esclusi
    Minnie e Moskowitz
    7,2
    Minnie e Moskowitz
    Volti
    7,4
    Volti
    Ombre
    7,2
    Ombre
    Mariti
    7,1
    Mariti
    Love Streams - Scia d'amore
    7,6
    Love Streams - Scia d'amore
    Gloria - Una notte d'estate
    7,1
    Gloria - Una notte d'estate
    L'assassinio di un allibratore cinese
    7,2
    L'assassinio di un allibratore cinese
    La sera della prima
    7,8
    La sera della prima
    Il grande imbroglio
    5,2
    Il grande imbroglio
    Una moglie
    8,0
    Una moglie
    Johnny Staccato
    7,9
    Johnny Staccato

    Trama

    Modifica

    Lo sapevi?

    Modifica
    • Quiz
      Cassavetes hated this film. He had this to say after its release: "I didn't know anything about directing at a major studio, so Too Late Blues never had a chance. I should have made the film my own way - in New York instead of California, and not on an impossibly tight schedule, working with people who don't like me, didn't trust me and didn't care about the film. Too Late Blues was shot in exactly 6 weeks....but I couldn't because I had to follow the shooting schedule. So the film you saw is incomplete and a wreck."
    • Citazioni

      John 'Ghost' Wakefield: Whoever told you that's what you had to do in order to reach somebody?

      Jess Polanski: Are you kidding? Just where do I stand without my body, huh? Tell me that!

    • Connessioni
      Featured in TCM Guest Programmer: Michael Feinstein (2015)
    • Colonne sonore
      A Song After Sundown
      (uncredited)

      Music by David Raksin

      Uan Rasey, trumpet soloist

    I più visti

    Accedi per valutare e creare un elenco di titoli salvati per ottenere consigli personalizzati
    Accedi

    Domande frequenti14

    • How long is Too Late Blues?Powered by Alexa

    Dettagli

    Modifica
    • Data di uscita
      • 28 marzo 1962 (Francia)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Blues troppo tardivo
    • Luoghi delle riprese
      • Paramount Studios - 5555 Melrose Avenue, Hollywood, Los Angeles, California, Stati Uniti(Studio)
    • Azienda produttrice
      • Paramount Pictures
    • Vedi altri crediti dell’azienda su IMDbPro

    Botteghino

    Modifica
    • Budget
      • 375.000 USD (previsto)
    • Lordo in tutto il mondo
      • 1608 USD
    Vedi le informazioni dettagliate del botteghino su IMDbPro

    Specifiche tecniche

    Modifica
    • Tempo di esecuzione
      1 ora 43 minuti
    • Colore
      • Black and White
    • Proporzioni
      • 1.85 : 1

    Contribuisci a questa pagina

    Suggerisci una modifica o aggiungi i contenuti mancanti
    • Ottieni maggiori informazioni sulla partecipazione
    Modifica pagina

    Altre pagine da esplorare

    Visti di recente

    Abilita i cookie del browser per utilizzare questa funzione. Maggiori informazioni.
    Scarica l'app IMDb
    Accedi per avere maggiore accessoAccedi per avere maggiore accesso
    Segui IMDb sui social
    Scarica l'app IMDb
    Per Android e iOS
    Scarica l'app IMDb
    • Aiuto
    • Indice del sito
    • IMDbPro
    • Box Office Mojo
    • Prendi in licenza i dati di IMDb
    • Sala stampa
    • Pubblicità
    • Lavoro
    • Condizioni d'uso
    • Informativa sulla privacy
    • Your Ads Privacy Choices
    IMDb, una società Amazon

    © 1990-2025 by IMDb.com, Inc.