Review of Love Streams (1984) by Matthew S — 10 Feb 2016

While it might not be the best of John Cassavetes' work, there is something really extraordinary about "Love Streams." It is unexpected to see him attempt a movie that plays around so much with 'style' and more than a little Surrealism. It sometimes feels like much of the "avant-garde" is mix of intention and budget limitations. This might be his most experimental film.

Some times this movie soars, other times it stumbles. The thrills and flaws are equally interesting to watch. Cassavetes's "Robert" is a bit of cliche. A street smart "ladies man" who is out to work every angle to his advantage. Robert's interesting flaw is that he is aware that he has become a cliche and a train wreck. When his estranged sister arrives at his door with a car full of luggage that seems to never end. Robert's sister, Sarah, has a lot of baggage. Fighting to save her dead marriage and secure custody of her daughter she is more of a mess than her brother.

As was often the case, Gena Rowland is the magic core of the movie. She plays this character with a desperate and sometimes manic energy. We are never sure if "Sarah" is sane or more than a little crazy. But we do come to understand something about her that is essential.

Among a cast of "lost" characters who form her family, she might be the most "eccentric" and "unhinged" --- she contains a truth of identity, family and life: She understand the all importance of "love." As she says during one of her desperate rants to save her family she tells us that "love streams." It just streams and we need to follow it's current. In another magical scene she desperately tries to crack a smile from her annoyed daughter and frustrated soon-to-be ex-husband.

Robert and Sarah are lost, but not without hope. Hope offered by the possibility of love. Of course, this was always Cassavetes career-long theme: Characters seeking, needing and demanding love.

In the world of "Love Streams" love may not be attainable, but no one has a choice but to reach for it. As Cassavetes leads us to a truly "operatic" crescendo, we can't help but be entranced.

It may not qualify as a true cinematic masterpiece, but this is an important film. Most especially for those of us who love John Cassavetes and his muse, Gena Rowlands, -- this movie is essential Film Art.