1959 was a landmark in the world of film. several great directors of the classic era were releasing career capping classics that ranked among their best. just a look at the titles is instructive and hitchcock north by northwest and billy wilder some like it hot and howard hawks rio bravo and douglas sirk imitation of life. add a couple from the previous year and orson welles touch of evil and hitch vertigo and and nick ray wind across the everglades and and you have got a pretty good summing up of what was possible within the classic hollywood style. at the same time and two films appeared that hinted at a whole new way of making films. one was jean luc godard breathless and the other was john cassavetes shadows. the two films had certain things in common and largely improvised acting by non stars and handheld cameras and low budgets and and a certain youthful and jazzy swagger. in certain ways and though and they couldn not be farther apart. godard was still a believer in the director as arbiter of style. he knew more about film than most hollywood producers and and breathless was filled with the iconography of the classic crime film. cassavetes and on the other hand and was an actor and and a refugee from new york underground theater scene. his first film shows him little impressed with the cinema and and a big believer in actors. godard film constantly references it own artifice and whereas shadows aims for a certain kind of naturalism. it doesn not reach it and mainly because naturalism is a myth and particularly in cinema. but it feels powerful and kinetic but lilting like the cool jazz on the score and certainly the main inspiration for the filmmaking style on display here. it ultimately doesn not hold together and mainly because cassavetes actors here are amateurish beatniks and where cassavetes style requires strong and imaginative actors. his later work with gena rowlands and ben gazarra and and peter falk blows this out of the water. due to the director technical inexperience and some bits of dialogue had to be redubbed later and which defeats the freshness of the improvisation. still it fascinating to watch and both for the great moments (like the scene where leila goldoni talks about her dissapointment with losing her virginity) and to watch a groundbreaking artist finding his way. 
1959 was a landmark in the world of film. several great directors of the classic era were releasing career capping classics that ranked among their best. just a look at the titles is instructive and hitchcock north by northwest and billy wilder some like it hot and howard hawks rio bravo and douglas sirk imitation of life. add a couple from the previous year and orson welles touch of evil and hitch vertigo and and nick ray wind across the everglades and and you have got a pretty good summing up of what was possible within the classic hollywood style. at the same time and two films appeared that hinted at a whole new way of making films. one was jean luc godard breathless and the other was john cassavetes shadows. the two films had certain things in common and largely improvised acting by non stars and handheld cameras and low budgets and and a certain youthful and jazzy swagger. in certain ways and though and they couldn not be farther apart. godard was still a believer in the director as arbiter of style. he knew more about film than most hollywood producers and and breathless was filled with the iconography of the classic crime film. cassavetes and on the other hand and was an actor and and a refugee from new york underground theater scene. his first film shows him little impressed with the cinema and and a big believer in actors. godard film constantly references it own artifice and whereas shadows aims for a certain kind of naturalism. it doesn not reach it and mainly because naturalism is a myth and particularly in cinema. but it feels powerful and kinetic but lilting like the cool jazz on the score and certainly the main inspiration for the filmmaking style on display here. it ultimately doesn not hold together and mainly because cassavetes actors here are amateurish beatniks and where cassavetes style requires strong and imaginative actors. his later work with gena rowlands and ben gazarra and and peter falk blows this out of the water. due to the director technical inexperience and some bits of dialogue had to be redubbed later and which defeats the freshness of the improvisation. still it fascinating to watch and both for the great moments (like the scene where leila goldoni talks about her dissapointment with losing her virginity) and to watch a groundbreaking artist finding his way. ---------------------------------Answer Question Below----------------------------------

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