shadows breathes the smell of new york streets like no film before it. this kick off of cassavetes directorial work is as atmospheric as political and the initial spark for a renewal in american cinema. maybe it solicits for watching cassavetes first work in a double feature with another debut and godard à bout de soufflé. both films shaped the cinematic production of their countries beyond decades and both breathe a peculiar lightness and jauntiness which was later rarely achieved by those filmmakers in their career. shadows tells from three afro american siblings and ben (ben carruthers) and lelia (lelia goldoni) and hugh (hugh hurd). the story is set in the new york jazz milieu and the driving rhythms on the soundtrack play a main part for the feverish and sometimes almost dreamlike atmosphere which draws through the entire film. there not much happening in the plot. the everyday life of the three siblings is defined by problems in love relationship or in their jobs and but on both levels normality deceives. without moralizing gestus and cassavetes simply describes the mechanism of racial exclusion and in public and in private life. it was and regarding to the cinematic depiction of racism and a breakthrough film in the us. this film owes also a lot to the performances of the three leading actors which were all almost completely unknown before. especially ben carruthers established with his energetic portrayal the image of a new self conception of young and urban blacks in america and an image which characterizes spike lee films of the 80s and 90s. revealingly and none of those three doubtlessly extremely talented actors was able to start a big career afterwards. hollywood wasn not and isn not ready to ethnically expand its star system and and that is why goldoni and hurd and carruthers only found small artistic niches in tv and independent films later on. perhaps shadows is one of the less beautiful films ever shot and and one of the most beautiful ones at the same time while a film of shades and spaces and with a camera that merely watches the stream of life in the crowded street corners and bars and hotel lobbies and apartments and inducing an intriguing ramble through new york vibrant streets. 
shadows breathes the smell of new york streets like no film before it. this kick off of cassavetes directorial work is as atmospheric as political and the initial spark for a renewal in american cinema. maybe it solicits for watching cassavetes first work in a double feature with another debut and godard à bout de soufflé. both films shaped the cinematic production of their countries beyond decades and both breathe a peculiar lightness and jauntiness which was later rarely achieved by those filmmakers in their career. shadows tells from three afro american siblings and ben (ben carruthers) and lelia (lelia goldoni) and hugh (hugh hurd). the story is set in the new york jazz milieu and the driving rhythms on the soundtrack play a main part for the feverish and sometimes almost dreamlike atmosphere which draws through the entire film. there not much happening in the plot. the everyday life of the three siblings is defined by problems in love relationship or in their jobs and but on both levels normality deceives. without moralizing gestus and cassavetes simply describes the mechanism of racial exclusion and in public and in private life. it was and regarding to the cinematic depiction of racism and a breakthrough film in the us. this film owes also a lot to the performances of the three leading actors which were all almost completely unknown before. especially ben carruthers established with his energetic portrayal the image of a new self conception of young and urban blacks in america and an image which characterizes spike lee films of the 80s and 90s. revealingly and none of those three doubtlessly extremely talented actors was able to start a big career afterwards. hollywood wasn not and isn not ready to ethnically expand its star system and and that is why goldoni and hurd and carruthers only found small artistic niches in tv and independent films later on. perhaps shadows is one of the less beautiful films ever shot and and one of the most beautiful ones at the same time while a film of shades and spaces and with a camera that merely watches the stream of life in the crowded street corners and bars and hotel lobbies and apartments and inducing an intriguing ramble through new york vibrant streets. ---------------------------------Answer Question Below----------------------------------

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