Woody Allen said that he could watch a Bergman movie and feel himself gripped as if by a thriller; that's how I felt watching this restored version of John Cassavetes's 1977 picture Opening Night
Opening Night (1977)
Tomatometer
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Reviews Counted:21
Fresh:20
Rotten:1
Average Rating:7.8/10
Consensus: Opening Night is as dense and difficult as one would expect from John Cassavetes, but even the director's detractors will be unable to deny the power of Gena Rowlands' performance.
Theatrical Release:15-06-2007
Synopsis: John Cassavetes, known for his in-depth explorations of individuals who appear to be on the brink of sanity, paints another powerful portrait with OPENING NIGHT. Gena Rowlands stars as Myrtle... John Cassavetes, known for his in-depth explorations of individuals who appear to be on the brink of sanity, paints another powerful portrait with OPENING NIGHT. Gena Rowlands stars as Myrtle Gordon, a Broadway actress rehearsing for her latest play, SECOND WOMAN, which concerns a woman who is unable to admit that she is aging. When a beautiful young fan gets hit by a car while trying to chase Myrtle down, she begins to ponder her own mortality, seeing visions of the young girl. This prompts Myrtle to challenge the playwright and director as to the play's overriding hopelessness; when opening night approaches, it appears that she has lost touch with reality. As the boozing actress, Rowlands adds another unforgettable performance to her resume, committing herself fully to Myrtle's character, making the film a challenging yet ultimately rewarding viewing experience for those that value a true grit performance. Cassavetes and Ben Gazzara deliver solid supporting turns, but it is Rowlands who steals the show. In focusing on an individual whose profession--an actress re-creating other people's lives--is directly linked to her psychological confusion, Cassavetes has made a universal commentary on coming to terms with one's inevitable aging, as well as the potential peril of living a life in which the lines between fact and fiction can all too easily blur. [More]
Starring: Gena Rowlands, John Cassavetes, Peter Falk, Ben Gazzara
Starring: Gena Rowlands, John Cassavetes, Peter Falk, Ben Gazzara, Paul Stewart, Zohra Lampert, Joan Blondell, Laura Johnson, Katherine Cassavetes
Director: John Cassavetes
Director: John Cassavetes
Producer: Al Ruban
Screenwriter: John Cassavetes
Composer: Bo Harwood
Reviews for Opening Night
At once a lament to the ravages of age and an examination of those tiny foibles which separate reality from dramatic artifice, it’s a baffling and intricate film which, although light on conventional pleasures, still manages to provoke and beguile.
the film is almost suffocatingly long, even though its ideas about actors, acting and real life are among Cassavetes's most intriguing.
Opening Night is a film so ambitious that it's hard to imagine anyone less accomplished and passionate than John Cassavetes even attempting it.
As per usual it features a superb cast, including the ever-present Gena Rowlands, who successfully improvise their way the film.
The film of the week is 30 years old and hasn't aged a day. It's John Cassavetes's Opening Night, a truly mesmerising study of anxiety and identity crisis in theatreland.
The camerawork is instinctively fluid, the performances savage – this is one of the best films about theatre ever made.
As you might expect, coming from indie godfather John Cassavetes, 1977’s Opening Night is something else, a weird, raw, ragged portrait of an actress on the verge of a
As densely layered and difficult as anything else Cassavetes ever directed, as dense as any American film from the 1970s.
The scenes in which Myrtle consults first one and then another spiritualist are typical of Cassavetes's genius in filming madness.
Rowlands sings a different kind of mad song in Opening Night, playing a diva-like actress preparing a part about aging that haunts her, at times literally, with a vision of lost youth.
The unpredictability of Rowlands' character brings one surprise after another to the narrative as the other characters scramble to accommodate or cajole her, and the surprises are often as funny as they are intensely dramatic.
Juggling onstage and offstage action, Cassavetes makes this a fascinating look at some of the internal mechanisms and conflicts that create theatrical fiction.
Intriguing but enigmatic backstage theater melodrama with shades of All About Eve.
Gena Rowlands turns in another virtuoso performance as the troubled actress. Cassavetes' highly personal work will please his coterie of enthusiasts, but for general audiences it will be viewed as shrill, puzzling, depressing and overlong.
Another of Cassavetes' puzzling, personal, neurotic, and often brilliant productions that would have benefited from editing with a scythe.
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