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The End of Allegory.(The Killing of a Chinese Bookie)(Video recording review)

The New Yorker

| November 17, 2008 | Brody, Richard | COPYRIGHT 2008 All rights reserved. Reproduced by permission of The Condé Nast Publications Inc. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

In 1975, after the critical and financial success of "A Woman Under the Influence," the director and actor John Cassavetes turned his attention to a gangland drama that he had cooked up with Martin Scorsese. The resulting movie, "The Killing of a Chinese Bookie" (in a two-disk set on Criterion), is Cassavetes's only genre film. When it was released in 1976, it confounded most critics' expectations and closed in a week. Yet, for the director, it was an artistic breakthrough that set the stage for his daringly personal later works.

The movie stars Ben Gazzara as Cosmo Vitelli, the owner of the Crazy Horse West, a Los Angeles strip club. A bad night of poker leaves Cosmo twenty-three thousand dollars in debt to mobsters; when he cannot pay, they demand that he commit the crime foretold in the title. The story is formulaic, but Cassavetes's approach is strikingly unconventional. From the opening shot, a long take in which Cosmo is held in closeup as he pays off a seven-year debt to a small-time operator who goes unseen, Cassavetes avoids psychological motivation in favor of a Beckett-like opacity and absurd humor, and turns the story into a ...

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