Review of The Killing of a Chinese Bookie (1976) by Tony P — 14 Dec 2009
The invasive realism of Cassavettes' crime drama is melencholy and hypnotic. Gazzara's performance as Cosmo is highly vulnerable, his bouts of anger and emotion uninterrupted by editing. With lathargic camera movement amidst scenes of casual improvisation, The Killing of a Chinese Bookie dissects the characters of Cosmo's sleazy nightclub circus with raw simplicity.
The same technique is used in filming the awkwardly unfunny stage shows (which Cosmo boasts that he choreographed himself). They are played out at length from a spectator's view, immersing the audience in the patheticness of the goings-on.
The plot is only occassionally useful, as Cassevettes sometimes departs too much into his organic stylings, spending too much time with scenes that don't further the narrative. Likewise, his lingering takes and jump cutting tend to dry out sequences of suspense.
The artistry usually overtakes the action, but alas, that's the beauty of it. It's an otherwordly and exhausting exercise in film, completely unique and heavy on the heart.
This review of The Killing of a Chinese Bookie (1976) was written by Tony P on 14 Dec 2009.
The Killing of a Chinese Bookie has generally received positive reviews.
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