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|Index||29 reviews in total|
A list of best films-you-didn't see from the seventies and eighties could
not be complete without a host of John Cassavetes films: THE KILLING OF A
CHINESE BOOKIE (1976 - given thumbs down on release, lauded as a classic
now), and LOVE STREAMS (1984) are just two overlooked gems. Likewise, the
only reason you can make for anybody not seeing MIKEY AND NICKY
starred, but didn't write/direct) is that nobody heard of
I assume you have one of two reasons for reading this review. Either (a) you love the film and are looking for like-minded opinion; or (b) you stumbled upon it accidentally, in which case I shall put it as simple as possible: you gotta see it.
Mikey (John Cassavetes) sits in a shoebox hotel room, a price now on his head, scared stiff. In desperation he calls his gangster childhood pal Nicky (Peter Falk) to help him get out of town.
A synopsis doesn't cover the density of the film. Two fragile male egos rebound off each other as the leads recall just why they love and hate each other so much. I cannot think of a better casting move than coupling Cassavetes and Falk. Good friends in real life, and frequent collaborators, they bring an intimacy to the film rarely seen elsewhere.
Within the first half-hour it dawns on the audience that engrossing as the story is, the outcome is not the most important aspect. Director Elaine May draws strength from the honesty of the characters. Her handling is at once compassionate and even-handed. The result: the characters are likeable for all their flaws.
It resonates more and more every time you watch it, enough for me personally to consider it will be a major influence on anything I might have the chance to film in the future.
The passing of Cassavetes was heartbreaking, the casual neglect of his output just as much so. If you don't know much about the man who took Scorsese under his wing, take the time today to investigate. Elaine May went on to make ISHTAR. Sadly, she hasn't directed since.
MIKEY AND NICKY is one of the greatest American films ever made.
This totally underrated classic (in my Top 10 of all time) directed by
Elaine May a few years before it's release is unbelievably gritty and a sad
comment on the "American Dream" even for small-time mobsters. John
Cassavetes was never better as Nick, a paranoid, intelligent, and
street-wise guy. Peter Falk is equally impressive as his friend Mike who
has problems of his own. This was probably the best Cassavetes-like film
that he DIDN'T direct, but very similar to his style.
A 10 out of 10. Best performance = John Cassavetes. a one-night (dusk to dawn) film that will grab you and never let go. Ned Beatty has an amusing supporting role, along with Sanford Meisner & William Hickey (well-known acting teachers). This movie never had a chance at the box office, but is now highly regarded in all circles. Don't miss it!
There's nothing wrong with a film being low-key, as a sense of subtlety
can force the viewers to draw their own inferences from the story and
ultimately walk away more affected, with both the films of John
Cassavetes and Robert Altman being prime examples. However, sometimes a
film can be too low-key and nuanced that it never particularly involves
the audience. "Mikey and Nicky" unfortunately did that for me. Director
Elaine May never seems able to decide exactly what she wants the film
to be, with it's tone often wavering between quirky character study,
buddy comedy, and crime thriller. All this would be fine, but
unfortunately the two title characters are never particularly likable.
Both of them are considerably misogynistic (oddly enough for a film
from a female director) and entirely at fault for the situations
present, with Nicky being rather psychotic. The film does have some
interesting points to make on the subjects of loyalty, but none of the
characters remain truthful to one another.
Still, the film remains watchable for several reasons. It's definitely an interesting failure, as May tried, no matter how muddled the result, to craft something intelligent and different, so that should be respected no matter what. Unfortunately, as a director she seems far too derivative of Cassavetes, who stars. The main thing "Mikey and Nicky" has going for it is some great acting. Peter Falk and Cassavetes were both always compelling if often underrated leading men, and the supporting cast has some interesting choices (from Ned Beatty to William Hickey to Joyce Van Patten and even a young M. Emmet Walsh), even if they're often given little to do. Unfortunately, the film in the end lacks any real impact, making the whole venture seem rather pointless. (6/10)
People give respect to give respect to Scorsese's "Casino", to "Taxi Driver", to "Mean Streets", they give respect to "The Godfather" and a whole slew of gritty organized crime movies. But I've never heard a single mention of this movie. Thankfully, people have been coming slowly around to Cassavetes-directed movies, but seldom, if ever, have I heard anyone compliment this movie for which Cassavetes is only credited for his acting. The silence regarding this movie is ridiculous, because of how great this movie is. It's so pure, it's so rough, it makes "Mean Streets" look big budget. The director, the comic-timing pro Elaine May, is a genius to let the actors do their thing, because they are legendary actors and to get too involved would ruin the chemistry. I think it's wise to go into this movie without knowing too much except maybe the names of the two leads and the director, and that the whole production is amazing without being perfect.
Viewers familiar with John Cassavetes' directing style will see his influence in this film, but Elaine May wrote and directed it. It is an engaging, highly unusual drama about two childhood pals mixed up with the mob. Don't expect Martin Scorsese or Francis Coppola glitz here---this movie is different. There is a real, uncinematic edge to it. It almost plays like a documentary, or a "reality movie." And the actors--Falk and Cassevetes were good friends and frequently worked together--allow for unique male-bonding (and a dissection of the male sex) that rarely occurs in modern film (another characteristic of a Cassavetes-directed film). Women are basically throwaway characters in many of his films, and that is the case here. This movie will either be an endurance test for audiences, or a fascinating experience. It was the latter for me.
The combination of Cassavettes, Falk and May cannot be beat. Scenes go on for ten to fifteen minutes long, but the dialogue is so smart and the acting so excellent that the film breezes by. Some of the best writing ever, and Falk is one of our greatest American actors. Hilarious scenes on the bus and in a graveyard are unforgettable. And Falk's nickname, "The Echo" is priceless. Must see.
*** This review may contain spoilers ***
Dear Elaine May,
your film is one which can be enjoyed for the actors alone. Peter Falk and John Cassavetes literally live their roles as a couple of lowlife gangsters. I could smell the always pleasant odor of whiskey and cigarettes coming off their bodies. Ned Beatty is terrific in a very restrained portrayal of an assassin. I noticed Emmet Walsh in a bit role as a bus driver.
You did a great job filming the empty streets, bars and run down hotels of Philadelphia. Frankly, so many filmmakers have exploited the gaudy and pensive beauty of America's cities - especially its underbelly. You've got to respect a country which gives so much space and opportunity to its depressed and crazy to destroy themselves. It is the sort of film which makes you want to drink a lot. Falk and Cassavetes are so stylish holding their drinks.
The fight scene in the black bar was so real and intense with all its suppressed violence. It could well have been directed by Scorsese. I read this was shot in the same year that Mean Streets (1973) released. There are so many similarities between the two lead characters of both films and the relationship between them.
I was not stunned by your film, Elaine. I found myself losing interest in the second half. Some of the scenes in the houses of the women went on for too long. The dialogs were indecipherable at times. The low key style does not always work. But I bet the likes of Jim Jarmusch were heavily inspired by this film.
I was thinking about Pulp Fiction when I saw the scenes with the references to the watch and Mikey's relationship with his father. Certainly, Tarantino ripped that off.
Anyway, I am surprised this was made by a woman.
Best Regards, Pimpin.
My reason for wanting to see this film was because Rueben Greene (from the film "The Boys In The Band" ) was in it. Boy, was I in for a treat. This film starring John Cassavetes and Peter Falk with Ned Beatty is a serious crime drama with a touch of gangster crime in it. May have been one of those films you saw years ago on a late night local independent tv station during a rainy night. This New York style/late-night feel film is played straight without the cheesy music in the background. Every sound you hear is real, the dialing of a rotary phone, footsteps, background chatter, the street, is all authentic as filmed. This is a good 1970's film. Wonderfully written and directed by Elaine May, who you may remember acting with Walter Matthau in the films "A New Leaf" (1971) and "California Suite" (1978). Adults Only.
*** This review may contain spoilers ***
This film tells the story of a problematic petty thief who falls in
danger after a questionable dealing with a mob boss. With minutes
behind his hit man, he asked his gangster friend for help to bail him
out one last time. Ultimately, his awful behavior takes a toll to their
friendship and he is left to bail himself on his own.
I have read a lot of reviews putting it high regard (even comparing it to the likes of the Godfather films and Scorsese gangster flicks) but it just did not do it for me. I mean I like the performances in here. It feels very organic and realistic compared to Cassavetes's work which seems to be the main inspiration of the film but it leaves you kinda detached to it. It just did not setup its character to be there with you throughout the film that by the end you could not care less about them. To conclude, the film would forever be remembered for May's directorial antics and not by its own merits. [2/5]
*** This review may contain spoilers ***
Although the director is Elaine May,the style is Cassavetes's.One may
think it's a lost work of him.Peter Falk's presence accentuates this
impression.The female parts were too small for Gena Rowlands,I guess..
An offbeat work,it starts as a thriller with gangsters and maffia,but we soon discover we got it all wrong.It's a psychological drama,a meditation on friendship (how could have we thought sweet Falk ,full of bonhomie ,was a Judas?),on death (the long sequence in the graveyard ) and mainly on this lost paradise,childhood:Falk tells Cassavetes that he often speaks of his child memories with his wife;actually,he'll do that afterwards,at the end of the movie.Childhood again,when the broken watch reminds them of a long gone past that comes back to take its toll. Childhood again,when Cassavetes buys candies.
Childhood's memories might explain Falk's ambiguous behavior.Remember James Cagney and his mother in "white heat" .There's a Walsh dash thrown in here.
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