This page
contains a selection of articles from the world's press in response to
Ray Carney's discovery of the long-lost first version of Shadows.
A summary of the interviews Professor Carney gave to journalists that provides information about Rowlands's attempts to confiscate the print
of Shadows and prevent it from being screened is available on
another page of the site. Click
here to go there.
To
read about Ray Carney's 17-year search for the lost first version of Shadows, click
here.
To
read a chronological listing of events between 1979 and the present connected
with Ray Carney's search for, discovery of, and presentation of new material
by or about John Cassavetes, including a chronological listing of the
attempts of Gena Rowlands's and Al Ruban's to deny or suppress Prof. Carney's
finds, click
here.
Click
here for best printing of text
To
read Jason Guerrasio's account of the Shadows find and screenings,
and excerpts from a brief interview with Ray Carney, as it appears in Filmmaker magazine, click
here.
To read Ray Carney's personal account of his seventeen-year search for
the first version of Shadows as published in The Guardian (London), click here.
An Excerpt from a review of the Rotterdam International Film Festival
screening published on INDIEWIRE.com:
Rotterdam Report: Rediscovering Cassavetes' "Shadows"
by Stephen Garrett
Chilly air? Overcast skies?
Rain-soaked streets? What better way to avoid gloomy weather than indoors
at the multiplex. No other major festival
is as conducive to moviegoing as the Rotterdam International Film Festival,
where winter doldrums are cast away under a rainbow of cinephile's delights....
Another Rotterdam highlight
during the festival's first weekend was the unveiling of the first
version of John Cassavetes' "Shadows" --
a movie that the actor/director re-shot extensively and which is widely
cited, in its most famous and familiar form, as the progenitor of the
modern American independent film movement. Film professor and longtime
Cassavetes scholar Ray Carney presented the movie, which screened only
five times and then was lost for 45 years. Before his death in 1989,
Cassavetes told Carney that he had long given up on ever finding the
movie.
Turns out the film was left
somewhere in the New York subway system, and after a year of languishing
there in the lost and found was sold
for pocket change around 1960 to a man who hoped he was actually buying
a porn film. After realizing the truth, the disappointed film buff put
the movie in his attic and promptly forgot about it. Only after his death
did his grandchildren think to even look at the movie. "Needles
in haystacks? That's easy compared to this!" said Carney about the
remarkable discovery that was made only two months ago. And what a revelation:
painstakingly transferred to digibeta to protect against the fragility
of the film, this "Shadows" is remarkably well-preserved and
offers a riveting look into the director's creative process.
When asked why Carney brought
the film to Rotterdam instead of America's own premier independent
film event, Sundance, he explained that Sundance
had turned him down. "Their programmers said the festival had OD-ed
on Cassavetes recently," he said. "And besides, they felt their
audiences wouldn't be interested. I see Rotterdam as a blessing in disguise
-- I think more people here appreciated the movie." All the more
reason to hail this Dutch festival as a true bastion for hard-core film
lovers.
(published on this site)
Copyright 2004 Indiewire.com
A brief interview with Ray Carney about the find published in The
Daily Free Press:
Boston University
Daily Free Press
1/29/04
Prof. finds film missing for 45 years
By Lauren Capolupo
After 17 years, College of Communication film professor Ray Carney finally
found what he was looking for.
The object of his search - an original version of independent filmmaker
and actor John Cassavetes' first film, "Shadows" - premiered
at the Rotterdam Film Festival in Holland Saturday night.
Cassavetes filmed two versions of "Shadows." The earlier version,
filmed in 1957 and 1958, was screened only three times in 1958 and once
or twice in 1960 for selected audiences, according to Carney's website.
Cassavetes used only one-third of the original footage to create a second
version, which was publicly released.
Shortly before his death, Carney said Cassavetes told him about the
earlier version, which was lost and presumed destroyed.
After a decade and a half of phone calls, announcements and interviews,
a friend of Carney's put him in contact with the woman who eventually
found the film. She said her father, who ran a second hand "junk
shop" had bought a film with a similar name at a New York City subway
lost-and-found sale. (Click here for information about a typical subway
sale.)
The woman eventually located the two reels of film in an attic. Carney
said he had been following other leads in the meantime and did not
believe the woman's print would be the film he was looking for.
Once the film, which was too fragile to be run through a projector,
was transferred to DigiBeta format, Carney said he was able to view the
original version of "Shadows" for the first time in 45 years.
Carney said he was happy to find the film, but the searching was more
exciting than the finding. About 10 years ago, he began reconstructing
the original film and published his findings in a book entitled "Shadows."
"Writing that book was some of the most fun I've ever had
in my life," he
said. "It was like doing a crossword puzzle. By figuring out all
the downs, I could figure out what the acrosses were. I was about 95
percent correct, so it was almost boring to look at the actual movie
after that."
Carney said he traveled to the Rotterdam Film Festival this weekend to
screen and talk about the film. It re-premiered on Saturday night to
approximately 400 film aficionados from around the world. Another 100
people sat for a smaller screening Sunday night.
"[The festival] was a great opportunity to show this film to professionals
- a large group of elite, special people."
COM Film and Television Department Chairman Charles Merzbacher said
the film is important to the film community because of Cassavetes' rising
profile as one of the first American independent filmmakers.
"'Shadows' was Cassavetes' first feature and therefore his first
stab at a radically personal approach to filmmaking," he said. "The
discovery of an earlier version of this work therefore lets film scholars
track more accurately the evolution of Cassavetes' vision." (To view three brief video clips from the first version of Shadows, click here.)
COM film professor Roy Grundmann said Carney's discovery is also important
to the Boston University community.
"It was particularly artists such as Cassavetes who demonstrated
that one could make films outside the established industrial circuits
that were aesthetically innovative, cheap and commercially viable," he
said. "Carney's research once more put BU at the forefront of film
scholarship."
Copyright 2004 The Daily Free Press
The Village Voice
February 4-10, 2004
Long thought lost, Cassavetes's early version sees the light
The Return of Shadows
by J. Hoberman
February 4 - 10, 2004
Rotterdam,
The Netherlands-John Cassavetes's Shadows, the
founding work of the American independent cinema, has always had
its own shadow—an
ur-version championed in these pages in 1959 by Voice critic Jonas
Mekas, who subsequently disowned the filmmaker's longer, revised cut.
Unseen, supposedly dismantled, and thought lost for over four decades,
an ur-Shadows has unexpectedly surfaced.
Turned down by Sundance,
where it might logically have been shown, this ur-Shadows premiered
at the ultra-cinephilic Rotterdam Film Festival. To anyone familiar
with the controversy around Shadows and its shadow,
the 78-minute ur-film is full of surprises. The known version is not,
as Mekas suggested, a virtual remake. Most of Shadows is already
ur. Nor is the ur-version less narrative. On the contrary: There is
radical
concentration of activity. The frantic round of parties, performances,
and pickups on Manhattan's main stem begs to be diluted. Does the action
span 24, 36, 48 hours? Where's the downtime? Other differences: Ur-Shadows lacks
a bedroom scene but boasts a more experimental Mingus score, as well
as a few songs whose rights would not have come cheaply.
The reappearance of this
extinct creature is due to Ray Carney, a Boston
University film scholar who spent years in search of this
particular grail. The provenance is still mysterious. Carney, who
must utter the
word "Cassavetes" more times in a day than most people take
a breath, credits the New York City Transit Authority. The movie was
apparently left on the subway sometime after its screenings at the 92nd
Street Y. Who lost it and how exactly the professor found it remain to
be explained.
Found on this site.
Copyright 2004 The Village Voice
Cassavetes' "lost film" premieres
Ray Carney, a professor
in the Boston University department of film and television and a well-known
biographer of filmmaker John Cassavetes,
discovered the lost original version of Cassavetes' 1959 film Shadows.
The film premiered last week at the Rotterdam Film Festival. The 16mm
film, made in 1957 and 1958, had been presumed destroyed. Carney launched
an exhaustive hunt for the original print after a conversation with
Cassavetes shortly before his death. He contacted collectors and curators,
interviewed surviving members of the cast and crew, and scoured archives.
After conversations with nearly 100 people, hundreds of phone calls,
letters, and e-mail inquiries, and trips to more than a dozen cities,
Carney received a tip that eventually led to him locating a family
who had found the film in an attic. "The 16mm print itself is
too fragile and rare to be screened, but a video transfer has been
made and can be projected," says Carney. "Forty-five years
after the creation of the first version, and 15 years after Cassavetes'
death, the world will at last have a chance to see his first film."
B.U. Bridge, Week
of 30 January 2004· Vol. VII, No. 18
Found on this site.
Copyright 2004 B.U. Bridge
An excerpt from the Catalogue of the 2004 Rotterdam International Film
Festival:
JOHN CASSAVETES, SHADOWS (THE FIRST VERSION, 1958)
"The holy grail of
Independent Cinema"—Simon Field, Director of the Rotterdam
International Film Festival
John Cassavetes'
classic feature début
is screened here in the rarely seen original version that has only
recently been rediscovered.
A semi-improvised story about
the love between a white boy and a black girl.
It's
not generally known that John Cassavetes, often called the father of American
independent film making, made his first film Shadows twice. He
initially shot the film in 1957. But after the print was screened a few
times in 1958, he decided to re-shoot much of the movie. In 1959 he deleted
approximately two-thirds of the footage, replaced it with newly shot material,
and screened a different edit. Some time after that, the first version
(which had existed only as single 16mm print) disappeared. Even Cassavetes
had no idea what had become of it. For 45 years the first version has
been one of the legendary unseen works of cinema, generally believed to
have been lost forever. However as a result of a conversation with Cassavetes
shortly before the film maker's death, Professor Ray Carney, the leading
expert on the director's work, decided that the first version might still
survive. From 1987 until the present, he spent his time pursuing scores
of leads -making thousands of phone calls and other enquiries, talking
to surviving members of the cast and crew and anyone who might have information.
Finally this indefatigable and long search paid off. In November, 2003,
the first version of Shadows was discovered in the attic of a
house in Florida. After 45 years, the world will again have the opportunity
to see Cassavetes' actual first film.
Copyright 2004 The Rotterdam
International FIlm Festival
From BusinessWeek Online
Where Indie Films Are Alive and Well
Wednesday February 11, 5:00 pm ET
GODFATHER OF INDIE. Rotterdam
is indeed special, a celebration of cinema culture over star hype and
box-office grosses. One of this year's highlights
was the surprise showing of a film given up as lost for 45 years ---
the first version of John Cassavetes' 1958 directorial debut, Shadows.
Cassavetes withdrew the film in 1959, deleting two-thirds of the original
footage and replacing it with new material. Scholar Ray Carney devoted
15 years to tracking the original cut, which he calls a "Holy
Grail of the cinema."
He succeeded only a few months ago, when he got in touch with a woman
whose father had inadvertently purchased it in the '60s, in a lot with
other items lost on the New York subway. The buyer was reportedly disappointed
it wasn't a porn film.
If the American indie movement had a godfather, it was undoubtedly Cassavetes,
who shot his semi-improvised features on the cheap, with money raised
from acting jobs and, in this case, contributions from listeners to Jean
Shepard's famed late-night radio show. Cassavetes' first feature, a landmark
declaration of cinematic independence, was right at home in Rotterdam.
Carney first offered the film to Sundance, but it turned him down.
taken from this site.
Copyright 2004 BusinessWeek
Online
Lumière sur «Shadows»
La première version du film de Cassavetes révélée à Rotterdam.
Par Edouard WAINTROP
mercredi 04 février 2004
Rotterdam envoyé spécial
Le
professeur Ray Carney a mis seize ans à remonter la piste
des deux bobines que Cassavetes avait perdues dans le métro.
Le héros paradoxal
de l'édition 2003 du festival international
du film de Rotterdam est John Cassavetes. Le cinéaste mort depuis
quinze ans a causé la plus grande surprise de la manifestation
hollandaise, avec la projection inespérée de la première
version de Shadows, tournée en 1957 (donc deux ans avant le Shadows que nous connaissons). La plupart des festivaliers ne soupçonnaient
même pas l'existence de cette version que le petit noyau de fans
très avertis croyait disparue.
Jusque-là, nous pensions que le premier opus cassavetien, dont
les héros sont de jeunes artistes noirs américains new-yorkais,
avait été réalisé en 1959. Erreur, explique
depuis des années le professeur Ray Carney. Cet universitaire
bostonien a conçu un site web complet dont la raison sociale est
explicite : cassavetes.com. Et il a fait le voyage vers Rotterdam pour
raconter cette histoire et montrer l'objet inconnu.
Après la projection, Carney a expliqué que le long métrage
que nous connaissions, celui de 1959, qu'un carton placé en fin
du film proclamait entièrement improvisé, a été écrit,
en partie, par un scénariste professionnel de Hollywood, Robert
Alan Aurthur. Les parties scénarisées sont celles, majoritaires,
qui ont été réalisées en 1959. Deuxième
révélation : il existait donc une première version
de Shadows, filmée en 1957 de manière spontanée,
qui a été en partie intégrée au montage final.
C'est quelques mois avant de disparaître que Cassavetes a avoué à Carney
l'existence de ce premier essai.
Mauvais accueil. Fort de rencontres
avec les survivants des deux tournages, de la consultation de centaines
de photos de plateau prises pendant le
premier tournage, le professeur a écrit un livre (1) dans lequel
il détaille ce que le Shadows de 1959 a gardé de celui
de 1957. Cassavetes aurait retiré vingt minutes à son premier
essai (qui dure une heure environ) et ajouté quarante minutes
de scènes nouvelles. Ces changements lui ont paru nécessaires
après le mauvais accueil fait au film lors des avant-premières à New
York.
Si une première version existe, qu'était-elle devenue
? En 1987, Carney se met à la pister. Cassavetes lui a avoué qu'il
avait perdu ce film, deux bobines 16 mm, dans le métro new-yorkais.
Pendant seize ans, l'universitaire s'active. Fin 2003, il rencontre enfin
son graal, dans le grenier d'une maison en Floride. Et il reconstitue
l'histoire de cette copie unique : égarée dans le métro,
stockée aux objets trouvés, elle a fini par être
cédée dans un lot à quelqu'un qui ne saisit pas
la valeur de son achat. Revendue, elle atterrit en Floride chez des gens
plus curieux qui identifient le trésor et se font connaître.
Et ainsi, en cette fin janvier 2004, Shadows first draft est projeté (en
copie beta digitale) à Rotterdam.
Rupture. Etait-il nécessaire de dévoiler une oeuvre dont
Cassavetes même semblait n'avoir plus rien à faire ? Indéniablement
oui. Parce que, dès 1957, elle avait ses partisans, tel Jonas
Mekas, qui y voyait une rupture avec le cinéma commercial. Au
point de considérer la mouture de 1959 comme une capitulation
devant Hollywood. Ensuite parce que le film possède un charme
indéniable. Les spectateurs de Rotterdam qui n'avaient jamais
vu Shadows ont découvert une oeuvre instable et pleine d'énergie.
Ceux qui connaissaient le film de 1959 ont constaté que le premier
Cassavetes s'intéresse moins à son personnage féminin,
Lelia, qu'à ses deux compères Hugh et Ben. Ce qui le rapproche
de l'art beat de l'époque, par exemple des livres de Kerouac,
si masculins.
Autre trouvaille de Rotterdam,
le premier film du Péruvien Josué Mendez,
les Jours de Santiago, a étonné par son intensité.
Découverte aussi de deux courts de l'Américain de Londres
Stephen Dwoskin : Dear Frances, consacré à son amie Frances
Turner, peintre morte l'an dernier à 38 ans, et l'autre sur son
père. Deux petites merveilles poétiques.
(1) Shadows, éd. British Film Institute, 9 £ (13 €).
Found on this site.
Copyright 2004 Liberation
33rd International Film Festival Rotterdam 21 januari - 1 februari 2004
PERSBERICHT 7 januari 2004
Legendarische eerste versie van Cassavetes' SHADOWS in Rotterdam
De legendarische 'verloren' eerste versie van John Cassavetes' speelfilmdebuut Shadows (1958) zal tijdens het komende IFFR, voor het eerst in meer dan
vijfenveertig jaar, te zien zijn als onderdeel van het festivalprogramma
'Cinema Regained'. De Amerikaanse universitair docent en auteur Ray Carney,
die de eerste versie terugvond, zal de film inleiden. Jonas Mekas omschreef
SHADOWS in zijn 'Movie Journal' column in 'The Village Voice' van 27
januari 1960 als 'the most frontier-breaking American feature in at least
a decade.'
De eerste versie van Cassavetes'
SHADOWS, in 1958 slechts drie maal vertoond in het Newyorkse Paris
Theatre, werd vervangen door een tweede
versie die in 1959 in première ging. Deze tweede versie is bekend
als een van de mijlpalen van de Amerikaanse onafhankelijke film en als
het debuut van een belangrijk vertegenwoordiger van de 'beat generation'-filmmakers.
Maar filmmaker en auteur Jonas Mekas schreef in een fameus commentaar:
'I have no doubt that whereas the second version of SHADOWS is just another
Hollywood film..however inspired..the first version is the most frontier-breaking
American feature film in at least a decade.' De eerste versie werd ondertussen
als verloren beschouwd en groeide in de loop van veertig jaren uit tot
een legende, de 'heilige graal' van de onafhankelijke filmkunst.
Dankzij een jarenlange inspanning
van Ray Carney, expert op het gebied van Cassavetes' leven en oeuvre,
is de eerste versie teruggevonden en
zal door hem worden gepresenteerd als hoogtepunt van het IFFR 2004 programma
'Cinema Regained'. Deze herontdekking stelt hedendaagse toeschouwers
in staat zelf te beoordelen in hoeverre Mekas' bemerkingen terecht zijn.
Ook vormt SHADOWS een uitdagende combinatie met de wereldpremière
van STAR SPANGLED TO DEATH van 'Filmmaker in Focus' Ken Jacobs. Deze
laatste film is eveneens voor een belangrijk deel gemaakt in de late
jaren vijftig en toont deels soortgelijke New Yorkse 'beat' figuren.
Copyright 2004 The Rotterdam
International FIlm Festival
the international federation of film critics
Simon Field and the Original Shadows
By Jonathan Rosenbaum
To the best of my recollection, the first time I ever met Simon Field,
the departing artistic director of the Rotterdam International Film Festival,
was in the early 1970s - either 1970 or 1973 - when he was programming
a festival of experiment filmmaking at the National Film Theatre in London
(something he informs me he did both of those years). From the beginning
of his eight years at the Rotterdam Festival, a major part of Simon's
special contribution has been not simply an emphasis on experimental
film but also a kind of investment in that branch of cinema that perceives
and highlights its interconnections with the other arts as well as with
other kinds of cinema. There has always been something refreshing about
his pluralistic and nonsectarian way of defining film experiment, and
one can see this in the range exhibited by Afterimage!, the invaluable
magazine he coedited in England with Ian Christie for many years - an
occasional publication which found room for Raul Ruiz as well as Michael
Snow, Noel Burch as well as Steve Dwoskin, and Jean-Luc Godard as well
as Stan Brakhage.
Another way of describing Simon's orientation would be to say that his
mission has always been to expand both the canon and the audience of
experimental cinema, and for me this has constituted one of his most
spectacular achievements at Rotterdam. One could see it in the rising
number of viewers attending the films of Ernie Gehr over the course of
a single festival retrospective, and in Simon's insistence on screening
experimental films in mainstream venues like the Pathe and in prime time
slots rather than following the safer and more conventional practice
of segregating these films in a slightly out-of-the-way ghetto (e.g.,
the Lantaren and/or the Zaal de Unie), which is the more conventional
way of handling experimental films at festivals.
Thanks to this welcome innovation,
I can count as two of my most treasured experiences at Rotterdam two
premiere screenings held in the roomy Pathe
7 two years apart: Michael Snow's Corpus Callosum in 2002, with Stan
Brakhage (the subject of a retrospective that year) in attendance and
part of the discussion that followed the film as well as Snow, and the
first version of John Cassavetes's Shadows, miraculously rediscovered
after 40-odd years (and many years of searching) and presented by critic
Ray Carney in 2004, which Simon justly described as the centerpiece of
this year's superb program, "Cinema Regained: Looking into the Past,
to Create the Future".
Although Simon could hardly
have predicted this, one of the major revelations of the original version
of Shadows is the experimental aspects of the
film that can be found in Charles Mingus's score - something that, to
the best of my knowledge, has never been written about before. (There's
a score by Mingus in the second and better known version of Shadows as
well, and it's a very good one, but it's also far more conventional.)
Even Jonas Mekas, who championed the original version for what he suggested
were its nonnarrative aspects - despite the fact that this "first
draft" of the film can be said to have more narrative (as well as
more nonnarrative) elements than the released version - had little or
nothing to say about this music. But if one acknowledges that Mingus
is as important to the history of music as Cassavetes is to the history
of film, especially as an innovator, Simon's ongoing emphasis on film
in relation to the arts makes it easier to see that Mingus's innovative
uses of music as commentary.
Consider how he gets a muted
trumpet to both represent as well as mock the voice of one character
(Tony Ray) speaking on the phone, reverting
to a shouted gospel tune, "Leaning on the Everlasting Arms" (with
the hollering voices of Mingus, Danny Richmond, and others) at another
juncture, and in general using a highly fragmented approach that mixes
brief, selected passages from a wide range of instruments, musicians,
and arrangements - is probably the single most experimental aspect of
the film from the vantage point of today. (By contrast, the nonnarrative
stretches rightly celebrated by Mekas look almost classical now.) It's
also instructive to view this experimentation in relation to the musical "conversations" that
Mingus was carrying on a little later between himself and Eric Dolphy
- see, especially, Charles Mingus Presents Charles Mingus on Candid -
in which the music was specifically phrased in order to approximate the
sound of speech. Even if applications of this technique often work against
some of the film's narrative devices by duplicating or anticipating the
work of actors and/or Cassavetes' direction (which is no doubt why it
was radically altered and also simplified in the release version), it
survives as a fascinating glimpse of a road not traveled in subsequent
film scores. And I'll always be grateful to Simon for allowing me a chance
to discover it.
--Jonathan Rosenbaum
© FIPRESCI 2004 (the international federation of film critics)
(posted here)
All rights reserved by the original copyright holders.
A
NOTE ABOUT SEEING THE FIRST VERSION OF SHADOWS
Gena Rowlands has expressed her desire to confiscate and suppress the print of the first version of Shadows. She has threatened legal action if Ray Carney shows it in public and refused to allow it to be released on videotape or disk. However, Ray Carney has been advised by intellectual property lawyers that the print and the right to screen it are completely and absolutely free of copyright restrictions and that it is his to screen and distribute as he sees fit.
Note
also that the newly discovered first version of Shadows is
not to be confused with the so-called "restored" UCLA
print, which is merely a copy of the same print that has been
in circulation for the past forty-five years. The UCLA print
is identical to the existing version of Shadows. There
are no differences. The first version, on the other hand, is
a completely different film, with different scenes, shots,
and dialogue.
For
an account of the discovery of the first version of Shadows, click
here. For
more information about the attempts of Al Ruban and Gena Rowlands
to seize and suppress the print and prevent future screenings
of it, click
here. |
Al
Ruban and Gena Rowlands claim that Cassavetes did not want the
first version of Shadows shown. They are simply wrong. Click
here to
read Ray Carney's response to a reader who asked about this issue.
What were Cassavetes' feelings about screenings of the first
version? Did he want it to be suppressed? Did he suppress it? |
This page contains
a selection of articles from the world's press in response to Ray Carney's
discovery of the long-lost first version of Shadows. A summary
of the interviews Professor Carney gave to journalists that provides information
about Rowlands's attempts to confiscate the print of Shadows and prevent it from being screened is available on another page of the
site. Click
here to go there.
To
read about Ray Carney's 17-year search for the lost first version of Shadows, click
here.
To
read a chronological listing of events between 1979 and the present connected
with Ray Carney's search for, discovery of, and presentation of new material
by or about John Cassavetes, including a chronological listing of the
attempts of Gena Rowlands's and Al Ruban's to deny or suppress Prof. Carney's
finds, click
here. |