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Rea, Steven. Shyamalan is in fine scary form in Signs. The Philadelphia Inquirer: 2 Aug 2002.

A positive review from a local critic declaring the film “a satisfyingly taut suspenser.” By A. Long

Thompson, Gary. Alien have another field day in Signs. The Philadelphia Daily News: 2 Aug 2002.

A positive review from a local critic declaring the film “a moody horror/thriller elevated by deft staging and the director's well-known narrative gamesmanship.” By A. Long

Poster of Signs

Promotion of Signs. By A. Long

Promotion of "Philly", IMDB

Promotion of "Philly". By A. Long

Poster of Philly, St. Petersburg Times

Promotion of “Philly”. By A. Long

Casting Calls Passing Through. Pittsburgh Post-Gazette: 21 June 2001.

To keep the film within Pennsylvania, Shyamalan orders casting calls in local cities. By A. Long

Whipp, Glenn. Journey to the Edge with M. Night. Toronto Star: Life, pg E01. 29 Jul 2002.

M. Night Shyamalan targets an ordinary audience. He wants to make a cross-generational movie for everyone from parents, children, grandchildren. Shyamalan uses his vision to transform a B-movie genre of alien invasion into an emotional tale of faith and belief. The film’s prevailing theme of the resilience of the human spirit led critics to interpret the film as almost a response to September 11^th. By A. Long

Bowles, Scott. Home Work. USA Today: Life, pg. 9D. 2 Aug 2002.

While the director stays close to Philadelphia for personal reasons of family and preference, the new location creates a more organic space for filmmaking, spurring more original ideas. For the set of the farm, Shyamalan rented 100 acres of fields at the Delaware Valley College to plant 40-acres of corn and construct an entire farmhouse. After the movie’s production, the house was torn down and all of the corn was donated to the school. The director claims to deliberately focus the settings of his plots in the Philadelphia-area (for example Bucks County and the Eastern State Penitentiary). By A. Long

O'Hehir, Andrew. A Higher Power. Salon.com: 2 Aug 2002.

M. Night Shyamalan attended school in an upscale Episcopalian institution in suburban Philadelphia. Instead of film focusing on crop circles and the simple alien supernatural, the director constructs a narrative of a higher supernatural to center on themes on faith and miracles. By A. Long

Pevere, Geoff. Signs, portents and alien invaders. Toronto Star: 2 Aug 2002.

M. Night Shyamalan further centers the film’s themes on lost faith and later redemption of the protagonist Graham Hess. He connects worship beyond just the characters, but into a more self-conscious worship of cinema, the motivation of audiences to repeatedly attend screenings in movie theatres. Whether in reverence or otherwise, the director cleverly uses silence as a device for plot and representation. By A. Long

Rickey, Carrie. Miracle Man: Shyamalan Has a Sense of the Supernatural. The Pittsburgh Post-Gazette: 2 Aug 2002.

Signs is shot in various locations in the Philadelphia area, mainly Doylestown, Morrisville, and Newtown. M. Night Shyamalan has a close association with these locations as his home is in close proximity, in Gladwyne, PA. Perhaps his own connections with the setting as well as the narrative was the cause of his devastation when his earlier film Unbreakable failed to connect well with audiences. By A. Long

Giles, Jeff. Out of this World. Newsweek: 5 Aug 2002.

M. Night Shyamalan’s films often feature a fascination with the middle class family. His films appeal to wide ranging audiences and demographics. As Hollywood’s highest paid screenwriter, Shyamalan is on his way to becoming a modern auteur, opening a film with his name. By A. Long

Muttalib, Bashirah. Locals give boost to hometown production. Daily Variety: Special Section 1, pg. A3. 10 Apr 2003.

M. Night Shyamalan’s Contributions to the Greater Philadelphia Film Office.Philadelphia has experienced a recent loss of projects to Canada. The success of M. Night Shyamalan’s films have created a new industry understanding of Philadelphia as a production center, increasing resources and experiences available to support future productions. The convention center and two city-owned warehouses have recently been transformed into free municipally run soundstages. Pinkenson explains that GPFO has always served as a nonprofit organization for the local film community. By A. Long

Huff, Richard. On eve of Exit from NYPD Delaney a Bit Blue. New York Daily News: Television, pg. 94. 20 Mar. 2001

Delaney is reluctant to leave comfortably established role in “NYPD,” but expressed more confidence when Bochco is confirmed as the show’s executive producer. By A. Long

Adalian, Josef. Bochco Blue over ABC tiff. Variety: Television, pg. 16. 28 May 2001.

Bochco expresses understanding of ABC time changes, but worries about “NYPDs” new competition on Wednesday night. “NYPD” now occupies the 10PM timeslot against NBC’s “Law & Order” while “Philly” will take over “NYPD’s” old Tuesday slot. ABC explains its refusal to renew NYPD just yet as a sound decision from a business standpoint. By A. Long

Timeslot shift irks Bochco. The Times Union: TV & Radio, pg. D4. 29 May 2001.

“Philly” is scheduled to run during “NYPD Blue’s” timeslot on Tuesdays. NYPD Blue’s performance in its new timeslot on Wednesday worries Bochco, since the network has not renewed the show for its 10^th season. The network hopes the Tuesday timeslot will capture the established NYPD audience. By A. Long

Rutenberg, Jim. Hurt By Cable, Networks Spout Expletives. The New York Times: Section 1, Column 2, Business/Financial Desk, pg. 1. 2 Sept. 2001.

Rutenberg examines the causes for increases in explicit language present in “Philly” as opposed to his previous “NYPD Blue.” Broadcast television has been long characterized with significant give-and-take exchanges between censors and producers to gradually lower standards. Traditionally, standards on broadcast have been higher due to public accessibility versus the anything-goes cable network, which has recently been posing a threat to network’s market share. Changing censorship rules are molding the movement of both television and pop/local culture. Bochco continues to demand looser restrictions. By A. Long

Devries, Hilary. Cover Story: Street Smart Cop Turns Savvy Defender. The New York Times: Section 13, Column 1, Television, pg. 4. 16 Sept. 2001.

Kim Delaney leaves “NYPD Blue” in order to star in Bochco’s new “Philly.” The agreement is a win-win situation for the actress as she is guaranteed a returning role to “NYPD Blue” should the show be canceled after 13 episodes. Bochco states that he felt Delaney was underutilized on the current show and welcomed the opportunity to write a new role for her. While two roles of Diane Russell and Kathleen Macguire are women working around criminals and male coworkers, the new character of Kathleen is less cynical and damaged. Delaney interviewed several Philadelphia-based defense lawyers in preparation for her role. By A. Long

Gallo, Phil. Philly: TV Series. Variety: September 24, 2001.

Gallo speculates that the public acceptance of Bochco’s trial drama depends on former “NYPD Blue” star Kim Delaney’s performance as Kathleen Macguire. The character roles are fairly similar: strong candid females with inexplicable drive to set things right. The city is subtly a background, with few differences from New York City. By A. Long

Gray, Ellen. Over There Fails to Draw a Big Audience. Philadelphia Daily News: 26 Oct 2005

Bochco’s recent wartime drama portraying the war in Iraq fails to receive much audience attention. Gray contends that while the show is worthwhile and deserves a larger audience, both the smaller cable network and unresolved ending of an ongoing war contribute to its low exposure. Perhaps the audience feels like they are simply watching the news in drama form. By A. Long

Tucker, Ken. Black and White TV. Entertainment Weekly: 20 Jul 99

Philadelphia –born actress Kim Delaney was arrested Malibu, California on suspicion of drunk driving. She was arrested and given two years probation, $300 fine, and ordered to attend a safe driving class as a result of her arrest for drunken driving. By A. Long

Deggan, Eric. Diversity Dearth Comes Top Down. St. Petersburg Times, 26 Aug., 2001

Deggan explains the controversial racial issues of the show "Philly". He questions Bochco’s lack of consideration for the implications of an all-white core cast defending black offenders for Philadelphia. Racial groups such NAACP, La Raza, and many minority viewers have expressed outrage that 21^st century television does not better reflect the changing composition and increasing diversity of our society. By A. Long

Tucker, Ken. Black and White TV. Entertainment Weekly: 20 Jul 1999

The President of the NAACP, Kweisi Mfume, calls the fall's major-network lineup a ''virtual whitewash,'' highlighting the blatant absence of black, Latino, or Asian actors in prominent roles in the new shows premiering on ABC, CBS, NBC, and Fox. Mfume called this ''a glaring omission,'' adding that ''African-Americans make up 13 percent of the population; we feel that our presence should be appropriately reflected.'' However, well-known producer, Steven Bochco, is creating a new show with a predominately Black cast. By A. Long

Shister, Gail. To Draw the young, pump up passion. Philadelphia Inquirer: Oct. 25, 2005.

Back to Bochco. Mark-Paul Gosselaar, who played Detective John Clark on Steven Bochco's NYPD Blue from '01 to '05, will rejoin his old boss on the new hit drama, Commander in Chief. The show (and many other produced by Bochco) have difficulties generating interest within the younger viewer demographic. Positive local reception of his shows remain concentrated in much older viewers, with an average age of almost 60. By A. Long

2002 Film Press

By A. Long

Wood, Sam. Byron's Spirited Foray into Klezmer. Philadelphia Inquirer, The 20 July 1993: E01.

Review of the Fugazi album, “In on the Killtaker”. Review starts off with, “Fugazi makes records the way the late, great John Cassavetes made films - with iron-willed independence and a rare gift for portraying harrowing worlds of raw emotion.” It’s interesting to see how the Philadelphia critical press approaches this album review through the Cassavetes song and the significance he has in the world of independent media.

Williams, Scott. Associated Press. Preston Sturges: A cynical American master. Philadelphia Daily News 2 July 1990: 36.

Announcement that on July 9^th, PBS will do an “American Masters” on Cassavetes. Cassavetes’s canonization by PBS is announced in the Philadelphia Daily News as a means of advertising the show, but it is another insistence of the importance of John Cassavetes as an American artist. By G. Bond

United Press International. Hollywood's John Cassavetes, 59. Philadelphia Inquirer, The 4 Feb. 1989: C09.

Philadelphia learns of Cassavetes’s death and begins to explore his career. By G. Bond

Twomey, Steve. Wheels - America's love affair continues < On four topless again. Philadelphia Inquirer, The 22 Aug. 1982: A01.

Popularity of the convertible, as evidenced by the celebrities who drive the, including John Cassavetes and Gena Rowlands. Indication of Cassavetes’s level of celebrity in Philadelphia. By G. Bond

St. George, Donna. John Janus, 88, restaurant owner, chef. Philadelphia Inquirer, The 18 March 1989: C16.

Life of this chef and restaurant owner, whose restaurant Konstantino’s, “attracted notables including Peter Falk, John Cassavetes and the former Princess Irene of Greece.” Fifteen years after shooting “Mickey and Nicky”, and one month after his death, Cassavetes is remembered as being one of the celebrities that graced Janus’s restaurant, an indication of the mark he left after his short time in Philadelphia. By G. Bond

Speers, W. Jodie Foster, Michael Douglas honored. Philadelphia Inquirer, The 28 Jan. 1992: E02.

Alexandre Rockwell, the director of “In the Soup”, is refered to as a “John Cassavetes-Sam Fuller protégé”. The Philadelphia critical press places Alexandre Rockwell in a lineage forged by John Cassavetes, once again keeping Cassavetes in a historical context. By G. Bond

Sozanski, Edward J. Feminist art of '70s, and photography. Philadelphia Inquirer, The 2 Feb. 2003: H10.

The exhibition, titled “Gloria” and concerning feminist art of the 1970’s, partially inspired by the Cassavetes film of the same name. Evidence of the continuing presence of Cassavetes on the Philadelphia art scene. By G. Bond

Ryan, Desmond. A filmmaker's serious legacy remembering John Cassavetes, who acted in big-studio productions to finance his own offbeat efforts. Philadelphia Inquirer, The 25 March, 1990: L02.

One year after his death, Philadelphia’s International House takes up the job of commemorating him with a 12-title retrospective. Not only does the International House make a step in the direction of canonizing Cassavetes, but Ryan does his part too, meditating on Cassavetes and his roles as director and actor. By G. Bond

Ryan, Desmond. Youths on the town for a revealing night. Philadelphia Inquirer, The 27 Sept. 1991: 04.

"Like Cassavetes, he is at his best in finding the revealing moment of truth in a mundane remark or admission." Another illustration of the importance of Cassavetes to the Philadelphia critical press and their means of discussing "edgy" cinema. By G. Bond

Ryan, Desmond. Gloria: Cassavetes with discipline. Philadelphia Inquirer, The 4 Aug. 1989: 10.

There have been numerous screenings of Cassavetes’s films throughout Philadelphia since his death, and they have served an important part in the continuation of his legacy. In his brief synopsis promoting the screening, Ryan writes, “The late and much lamented John Cassavetes financed his adventurous career as a director by acting in flagrantly commercial movies. His own films found only a cult following, with the exception of Gloria, starring Gena Rowlands (Cassavetes' wife) as a gangster's moll in a witty variation on Little Miss Marker. The film offers the spontaneity of Cassavetes' more experimental work in a more disciplined format. By G. Bond

Ryan, Desmond. Cassavetes reach - not his grasp - is what counted. Philadelphia Inquirer, The 6 Feb. 1989: D05.

As a Philadelphia critic, and the one with the most experience with Cassavetes, it is fitting that Ryan writes his obituary for The Philadelphia Inquirer, and so he begins the posthumous canonization, finding a way to define his work in the context of history and its great influence and importance. By G. Bond

Ryan, Desmond. Film: Cassavetes as director stirs up his own Big Trouble. Philadelphia Inquirer, The: 2 June 1986: E03.

Desmond Ryan reveals his love for Cassavetes in this overall negative review. While Ryan did not like the film, he blames the writer, explicitly saying Cassavetes did what he could with the script. By G. Bond

Ryan, Desmond. Film: Mikey and Nicky seeks a second opinion. Philadelphia Inquirer, The 27 May. 1985: C03.

The film was shot in Philadelphia in 1973. The usually Cassavetes-friendly Ryan does not like “Mikey and Nicky”, but still manages to say something nice about him, “it is gruesome to think how bad this film would be without Peter Falk and John Cassavetes in the leads”. He even goes so far as to praise his directing unprovoked, “the inescapable conclusion is that Cassavetes, for all his faults, does this kind of film with more spontaneity and impact.” By G. Bond

Ryan, Desmond. A success story that reads like a far-fetched fantasy. The Philadelphia Inquirer 2 Oct. 1983: C01.

In discussing Kasdan’s balancing his career between projects like “Raiders of the Lost Ark” and more adult films like “The Big Chill”, Kasdan, “does not see himself as an artist who toils in flagrantly commercial enterprises to finance his important work - a defense John Cassavetes offers for some of the roles he takes. A seemingly unprovoked reference to Cassavetes, such as the one made by Ryan here, both serves to indicate the extent to which Cassavetes and his characteristics as an actor and a director have become ingrained in the language of filmmaking, and it serves to confirm his place in film history. By G. Bond

Ryan, Desmond. Sting II score: A challenging encore. The Philadelphia Inquirer 13 Feb. 1983: I03.

Announcement of “Love Streams”, in the context of Gena Rowlands and John Cassavetes and husband and wife, co-actors, and director and actor. Continuation of Cassevetes career as defined in the Philadelphia press by his marriage to Gena Rowlands. By G. Bond

Ryan, Desmond. Watching this is the real horror. Philadelphia Inquirer, The 9 Nov. 1982: C08.

Ryan demonstrates the contemporary view of Cassavetes and his balance between his artistic directing work and his B-movie acting work, “Cassavetes' excuse for incubating is that the money he earns from trash like The Incubus helps pay the bills for his own work as a filmmaker. The price of a Gloria is very high, and he had better make something equally good to atone for slumming through The Incubus.” By G. Bond

Ryan, Desmond. On Movies - Publishers hope Gandhi film will spur sales of three books. Philadelphia Inquirer, The 10 Oct. 1982: M03.

This small article from The Philadelphia Inquirer shows how Cassavetes and Rowlands were, at least partially, defined in the media by their working marriage. By G. Bond

Ryan, Desmond. Modern Tempest works well. Philadelphia Inquirer, The 27 Sept. 1982: C01.

This review of “The Tempest” illustrates Ryan’s admiration for Cassavetes as an actor, but this praise cannot be removed from his love of his directing. “Phillip, the Prospero of Mazursky's story, is played by John Cassavetes with a fervor that makes one wish his passion for directing allowed him more time in front of the camera” By G. Bond

Rickey, Carrie. Dodging bullets in Gloria. Philadelphia Inquirer, The 29 May, 1992: 06.

Philadelphia’s habit of Cassavetes retrospectives moves from International House to Temple University Cinematheque. By G. Bond

Rickey, Carrie. Apocalypse Now shows with a film chronicling its birth. Philadelphia Inquirer, The 17 April 1992: 08.

“Faces” is being screened at the Temple Cinematheque in Philadelphia. Another instance in the maintaining of Cassavetes’s legacy through retrospective screenings.

Rickey, Carrie. 25 more film treasures named Hollywood hits and path-breaking independent movies are on \ Library of Congress list slated for restoration and protection. Philadelphia Inquirer, The 19 Oct. 1990: D01.

Cassavetes’s “A Woman Under the Influence” is inducted into the National Film Registry. Cassavetes is canonized by the government. By G. Bond

Rea, Steven. A working-class bar serves up a slice of life. Philadelphia Inquirer, The 25 Oct. 1996: 12.

Review says, “Seymour Cassel, the veteran of so many John Cassavetes pictures - pictures that Trees Lounge evokes in its emphasis on characters over plot - also turns up briefly.” An indication of the presence of Cassavetes on the conscious of the Philadelphia critic, as well as the extent to which even after his death, Cassavetes remains in dialogue with independent cinema. By G. Bond

Rickey, Carrie. He's home on a holiday pass - and fueled by testosterone. Philadelphia Inquirer, The 28 Sept. 1990: 16.

In her review for “The Big Dis”, Rickey points out the influences of Cassavetes of the film’s makers, from its handheld 16mm cinematography to the productions that “state that the script is based on an improvisation by the cast”. By G. Bond

Rickey, Carrie. In Grand Hotel, plenty of room for stars. Philadelphia Inquirer, The 6 April, 1990: 14.

John Cassavetes retrospective at the International House, specifically “Opening Night” and “Husbands”. By G. Bond

Rickey, Carrie. Treasures of the screen forgotten films should be recognized. Philadelphia Inquirer, The 10 Aug. 1989: D01.

At this early point in figuring out Cassavetes’s place in film history following his death, Carrie Rickey makes a statement for his canonization. It is also impressive because, while she got the film wrong, Cassavetes did make the National Registry with “A Woman Under the Influence”. By G. Bond

Rickey, Carrie. Getting the picture about critics' awards. Philadelphia Inquirer, The 16 Dec. 1986: D01.

Article on 1986 Los Angeles Film Critics Awards. John Cassavetes is given the career achievement award. Philadelphia was made aware of the significance of Cassavetes’s career.

Rea, Steven. An art-house movie that makes funny about making a movie. Philadelphia Inquirer, The 28 Jan. 1992: E02.

Review says, “’In the Soup’ also stars Seymour Cassel, a big bear of a character actor and repertorial fixture of an earlier era's indie film pioneer - John Cassavetes. The Philadelphia critical press demonstrates its awareness of the history of independent cinema by connecting this film’s being an indie film with Seymour Cassel, the film’s link to the birth of independent cinema and John Cassavetes. By G. Bond

Lyman, Rick. For filmmaker Jean-Luc Godard, harsh critics and a pie in the face. Philadelphia Inquirer, The 11 May, 1985: D03.

Godard dedicated “Detective” to John Cassavetes, Edgard Gulmer, and Clint Eastwood, saying, “I dedicated the film to these three because of the way they have been able to make movies outside the system, the way they have beaten the system.” The publishing of this article in The Philadelphia Inquirer is a testament to the love of cinema in Philadelphia, but it also serves as further propagating the legacy of John Cassavetes, particularly from such a widely recognizable name. By G. Bond

Lyman, Rick. Film: A look at two lost souls. The Philadelphia Inquirer 7 Sept. 1984: E07.

Negative review of Love Streams. Prior to his death, there were still mixed feelings within the Philadelphia critical press about Cassavetes. Lyman says, “All the time-tested Cassavetes staples are on view in Love Streams - intense close-ups, extreme long takes, a focus on character rather than narrative… In his best movies - such as Faces (1968) - these artsy effects gave the movie a gut-wrenching improvisational quality. In Love Streams, they feel old- fashioned, one last self-congratulatory beatnik wail.” By G. Bond

Lyman, Rick. His up-and-down career is heading up again. The Philadelphia Inquirer 4 March. 1983: C01.

Through this article, The Philadelphia Inquirer provided a voice for Bogdanovich, openly making the statement that he prefers Cassavetes to the “cartoon-like” work of Lucas and Spielberg, and thereby makes a step forward for independently-minded cinema. By G. Bond

Lyman, Rick. Recalling a worthy film era. Philadelphia Inquirer, The 3 March, 1983: D04.

Discussion of the American New Wave, centered around Cassavetes’s “Shadows” as “probably the most influential and important movie of the American New Wave” and “a stark, realistic and improvisational classic”.Again, between the retrospective itself and the article in The Philadelphia Inquirer, Philadelphia has contributed to the life of “Shadows” and Cassavetes’s work as a whole. By G. Bond

2004 Schedule for International House Cassavetes Retrospective

Not only is this another in the line of Cassavetes retrospectives in Philadelphia, but the International House has gone one step further in canonizing Cassavetes and turning the retrospective into a means of carrying on film history by showing Charles Kiselyak’s three-hour and twenty-minute documentary, “A Constant Forge”. The role of retrospectives like this one is not lost on the International House, as they begin their write-up on the event with “Since his death in 1989, recognition of John Cassavetes’ significance has grown steadily – a recognition that often eluded him in life.” By G. Bond

Harris, Harry. Cover Story - Laborteaux Trio: Matt, Pat, and Mom. Philadelphia Inquirer, The 20 Dec. 1981: TV04.

In this article for the television section of The Philadelphia Inquirer, the story is told about how Matt Laborteaux got his role in “A Woman Under the Influence” when Cassavetes asked him if he could cry on the spot, and when he could, he gave him the job. This is one of the most famous stories of John Cassavetes, and here in this article on the stars of “Little House On the Prairie” in the television section of the Philadelphia paper, the legend grows a little bigger. By G. Bond

Goldman, Kevin L. Again, Hollywood comes to Atlantic City. Philadelphia Inquirer, The 1 Aug. 1981: B01.

In The Philadelphia Inquirer, Kevin L. Goldman wrote this article talking about Hollywood’s use of Atlantic City. Cassavetes is used as the focal point of the film and its interaction with the space of Atlantic City. By G. Bond

Ehrlich, Dan. U. S. entry at Cannes gets mixed reception. United Press International. Philadelphia Inquirer, The 18 May. 1983: D03.

Philadelphia’s reception of news from the international film festival regarding Cassavetes, with a very positive review of his performance. By G. Bond

Cornell, Christopher. A vibrant take on Malcolm X. Philadelphia Inquirer, The 22 July, 1993: C06.

The video release of “The Killing of a Chinese Bookie”. The brief description of the film says it is “shoddy and pretentious”, but that it has a “quirky charm”. While not terribly significant, this is evidence of the presence of John Cassavetes in the Philadelphia conscious. By G. Bond

Cornell, Christopher. Cast back on Earth in Cocoon sequel. Philadelphia Inquirer, The 6 July 1989: E04.

Barely four months after his death, and there is already a tribute documentary. This is an indication of his significance, as is the fact that he is referred to as “one of film’s great mavericks”. By G. Bond

Caparella, Kitty. Pasta pioneers something was -and is - always cooking on Fulton Street. Philadelphia Inquirer, The 25 Nov. 1998: 33.

Celebrating the culture of pasta restaurants in Philadelphia, one of them lists John Cassavetes and Peter Falk among its star clientele.Twenty-five years after Cassavetes and Falk shot “Mikey and Nicky” in Philadelphia, their visits to restaurants are still recalled as signs of the golden era. By G. Bond

Baltake, Joe. Big Trouble is what this comedy had. Philadelphia Daily News: 2 June 1986: 59.

According to this review, Baltake represents a critical fanbase in Philadelphia for Cassavetes before his death. By G. Bond

Baltake, Joe. A Revoltin' Development. Philadelphia Daily News 4 April 1986: 49.

Review of the film “Parting Glances”. Baltake refers to the “kind of large ensemble doing the kind of spontaneous turns (improvisations?) rarely seen except in the work of John Cassavetes.” Cassavetes is synonymous with a large cast that improvises, this article leads us to believe, or at least for this Philadelphia critic. By G. Bond

Baltake, Joe. Movies. Philadelphia Daily News 12 Dec. 1985: 77.

While talking about Frank Sinatra, Baltake says he has a fantasy of seeing Sinatra in a Cassavetes film. “Sinatra was made for Cassavetes. Cassavetes makes dramatic movies, but they have the spirit of a tune and the poetry of a lyric, qualities which, on screen, have always showed Sinatra at his best, qualities that make it possible for Sinatra to conjure up the feelings that he brings to a song.”An unprovoked reference to a figure like Cassavetes leads one to believe that Cassavetes plays a big part in the collective cinematic conscious, and that the seemingly mythological pairing of Sinatra and Cassavetes confirms Cassavetes place a cultural figure of significance, especially when placed alongside Frank Sinatra. By G. Bond

Baltake, Joe. Mikey and Nicky make a reappearance. Philadelphia Daily News 29 May. 1985: 46.

Baltake is critical of the movie, but is eager to praise Cassavetes’s performance saying he gives “the best performance of his career”. Like Ryan, however, Baltake can’t stop himself from talking about Cassavetes the director, “Through it all, one is aware of what Cassavetes himself might have whipped up in half the time and with half the money - probably a modern, gritty, ‘Waiting for Godot.’ He certainly would have made better use of the Philadelphia locations and the film's inherent sociology on ‘neighborhood’ life as the two buddies here walk the streets, sit in bars, ride the buses and reminisce.” By G. Bond

Baltake, Joe. Black comedy avoids a pit. Philadelphia Daily News 17 May 1985:62.

Talking about the film “Can She Bake a Cherry Pie?”, Baltake requests the reader, “imagine what ‘Annie Hall’ might have been like if it had been made by John Cassavetes, you’ll get some idea of the jittery, discordant, vital movie that director Henry Jaglom has created here. The Philadelphia critical press uses Cassavetes in a very referential way, solidifying his reputation as an ideal or prototype of an edgy, independent filmmaker. By G. Bond

Baltake, Joe. Take-out video - Our complete guide to selecting a movie on videotape. Philadelphia Daily News 13 Dec. 1983: 55.

The Philadelphia Daily News, in promoting the first wave of home theater equipment, endorses purchasing the video of Gloria, under the heading of “Sleepers”. Referring to the gangster genre, Baltake says, “Needless to say, Cassavetes turns the genre upside-down. It’s exhilarating!” By G. Bond

Baltake, Joe. Love Streams A Batty Film. Philadelphia Daily News 10 Sept. 1984: 36.

Prior to Cassavetes’s death, the Philadelphia critical press wasn’t sure what they thought about him. While he praised “Gloria”, Baltake uses his review for “Love Streams” as a means of waxing analytical about Cassavetes and his aesthetics. “It's ironic, really. The problem with cinema verite - film that's devoted to "truth" and "reality" - is that, more often than not, the results look more silly than serious. There's a certain messiness to real life that evades the kind of structure that most people expect from movies. Films that attempt to capture "real time" on screen or that are based on candid spontaneity, improvisation and voyeurism tend to seem vague. Stripped of a definite beginning and ending and lacking a direct theme, a film of this nature doesn't seem to be about anything at all. Viewers have nothing to latch on to, nothing to watch - other than a director and his cast going through an eccentric theatrical exercise. Such is the case with John Cassavetes' "Love Streams." By G. Bond

Actor-director John Cassavetes dead at 59. Philadelphia Daily New 4 Feb. 1989: 04.

Philadelphia learns of Cassavetes’s death and summarizes his career. By G. Bond

Adams, Sam. Screen picks. Philadelphia City Paper 13-19 Jan. 2005

Adams’s review puts “Mikey and Nicky” into a Philadelphia context, saying, “Speaking of Philadelphia stories, Elaine May's jittery 1976 film is set entirely on the streets of Philadelphia, although people who've only seen the city in its post-deficit glory will hardly recognize the grungy streets and desolate alleys; a bar at Second and South looks more like a roadside dive in some Midwestern industrial town.” Adams also brings attention to a humorous anecdote that affected at least one Philadelphian, told by the producer Michael Hausman, that during his performance, “Cassavetes was so unrestrained that in the movie's opening sequence, he threw a liquor bottle out of a hotel window and struck a pedestrian below.” By G. Bond

Adams, Sam. Screen picks. Philadelphia City Paper 11-17 Nov. 2004

Where Desmond Ryan’s article on the International House retrospective in 1990 was the Philadelphia critical press’s contribution to the framing of Cassavetes in film history following his death, Adams’s article on the 2004 International House retrospective is the continuation of the same discussion, with Philadelphia’s new contribution being a very theoretical dissection, and sometimes harsh criticism, of Cassavetes’s career as a director. By G. Bond

John Cassavetes in Philadelphia

By G. Bond

Rickey, Carrie. Role Reversal it wasn't easy for the most Powerful Woman in American Entertainment to put herself into the shoes of a Slave. But Oprah Winfrey did it, to the Strains of a Childhood Hymn, for Beloved. The Philadelphia Inquirer. 11 Octobe

In a formal interview, Oprah Winfrey discusses the preparation involved in playing an African American slave in “Beloved”. Jonathan Demme, the director, also comments on Oprah’s historical treatment of the character she plays. By J. Bruno

Rickey, Carrie. Reality check the disappointing box office for Beloved, after the fast fade of last year's Amistad, prompts a rethinking of the market for prestigious, black-themed films. The Philadelphia Inquirer. 23 November 1998: D05

Critics comment on the reasons for the poor box office returns of “Beloved”, specifically citing plot structure and budget issues as the cause rather than the focus on African Americans as protagonists. By J. Bruno

Weinraub, Bernard. Beloved from Demme. New York Times.(1857-current file); October 2, 1998; pg. E12.

This article reviews Jonathan Demme’s works, including “Philadelphia” and “Beloved”. More specifically, it focuses on Demme’s perspective of “Beloved” and the process he took to chose and shoot the film. By J. Bruno

Williams, Anthony. Not a Ghost Story. New York Times (1857-current file); November 1, 1998; pg. AR4.

A commentator remarks about the story of “Beloved” not as a ghost tale, but one with profound African American spiritual elements. He provides a review from an African American perspective that serves to explicate Morrison’s themes in the novel. By J. Bruno

Simon, John. Ghost of a Chance. National Review, 11/23/98, Vol. 50 Issue 22, p59.

The National Review deplores Jonathan Demme’s adaptation of Toni Morrison’s “Beloved”. The reporter claims that the movie focuses on the supernatural and is too confusing for audiences. By J. Bruno

Maslin, Janet. Peace From a Brutal Legacy. New York Times (1857-current file); October 16th, 1998; Pg. E1.

Maslin praises Demme for his deeply touching adaptation of Toni Morrison’s “Beloved”. The film succeeds in bringing historical African American slavery’s emotional issues to life. By J. Bruno

Weinraub, Bernard. Beloved Tests Racial Themes at Box Office. New York Times. (1857-current file); October 13th, 1998; Pg. E1

The article focuses on the public’s reception of the highly anticipated release of “Beloved” with regards to racial issues. Generally, “Beloved” will be a gauge for future mainstream Hollywood African American films. By J. Bruno

BELOVED IT'S NOT, Economist, 00130613, 11/21/98, Vol. 349, Issue 8095

This article chronicles the pitfalls of “Beloved” at the box office about a month after its release. The article cites that no critics labeled it a “must-see” film, although it boasts extensive camerawork, powerful scenes, and a moving score. By J. Bruno

OPRAH'S AWAKENING. By: Powell, Joanna. Good Housekeeping, 0017209X, Dec98, Vol. 227, Issue 6

In a formal interview, Oprah Winfrey reveals how “Beloved” has changed her life. She also mentions the process she went through to prepare for the filming of the movie. By J. Bruno

Weiskand, Ron. Dearly Beloved- Oprah pours her Heart and Talent into Toni Morrison's Historical Novel. Pittsburgh Post-Gazette. 16 October 1998: 20

The reporter gives the movie only 1 to 2 stars. However, the review is overall positive, drawing on Demme’s rich and textured techniques to develop the themes of “Beloved”, as well as Oprah Winfrey’s star quality. By J. Bruno

Thompson, Gary. Long Labor of Love from Book to Screen was a 10-year Trek. The Philadelphia Daily News. 9 October 1998..

Thompson interviews with both Winfrey and Demme to discuss the long and challenging process that ”Beloved” took from book to film. Demme cites Philadelphia as a good shooting location replacing Cincinnati (where the book took place). By J. Bruno

Thompson, Gary. Bug-eyed\Ants, Travolta, Oprah Highlight Fall. The Philadelphia Daily News. 11 September 1998: 46.

A movie critic cites Philadelphia’s “Beloved” as a prestige title that is in the running for an Oscar nomination. By J. Bruno

Armstrong, Jenice M. Oprah's Faithful, no Buts about it. The Philadelphia Daily News. 19 October 1998: 36.

A staff writer for the Philadelphia Daily News reports bits of gossip, one of them being Oprah’s treatment of sex scenes in “Beloved”. By J. Bruno

Thompson, Gary. Watching this film is a Labor of Beloved. The Philadelphia Daily News. 16 October 1998: 38.

In a formal review of “Beloved”, the newspaper reporter recalls the premise of the film, commenting on the difficulty in transition from Toni Morrison’s novel to the film. In his opinion, this ultimately contributes to the audience’s trouble in viewing the film. By J. Bruno

Pendleton, Tonya. Lights, Camera, Oprah! Winfrey Wows $250-a-seat Crowd at Philly Premiere of her Beloved star wows fans\ Premiere of Beloved benefits four Phila Groups. Philadelphia Daily News. 10 October 1998: 05

The Philadelphia Daily News reviews Oprah’s charity benefit for “Beloved”. The article cites four Philadelphia organizations (Philadelphia Reads, the African-American Mueseum, Freedom Theatre, and Women in Transition) that profited from the event. Director Jonathan Demme also made an appearance to talk about the film. By J. Bruno

Roberts, Myrtland. Beloved fan talks with Oprah. The Daily Pennsylvanian. 3 November 1998.

William Franklin, a graduate lecturer for the school of Education at Penn, was selected among thousands of fans to fly to Chicago to have dinner with Oprah Winfrey and Jonathan Demme. Franklin chronicles his remarkable experience to Daily Pennsylvanian reporter Myrtland Roberts. By J. Bruno

Pray, Rusty. At Temple, Morrison fans hear from their Beloved\ the Nobel Winner read from her New Novel. The Philadelphia Inquirer. 9 April 1998: B06

Toni Morrison, author of “Beloved”( the book on which the film was based) goes to Temple University in Philadelphia for a free symposium, coinciding with Temple’s week of dialogue on race. By J. Bruno

Heller, Karen. Oprah and her Movie arrive\ A Glitzy Gala for Beloved Icon. The Philadelphia Inquirer. 10 October 1998: A01.

This newspaper article depicts a movie gala for “Beloved”, hosted by Oprah Winfrey at the United Artists RiverView Plaza 17 in Philadelphia for charity benefits. The author describes the sights and sounds of the benefit, including Oprah’s positive appraisal of the city of Philadelphia. By J. Bruno

Goldsmith, Diane. Furnishing Beloved with Care. An Iron Slave Collar. Carriages and Buggies. An Antique Barber Chair. It took a lot of Research and Care to give the film its look of Authenticity. The Philadelphia Inquirer. 16 October 1998: E01.

Basically the article talks about the historical props and artifacts that designers looked for to put in the film. The producer, designer, and art director for the film talk about the process they went through in looking for specific pieces. By J. Bruno

Von Bergen, Jane M. In TV Spot, Oprah loves Philadelphia Back/ Bob Dole also lends his voice to the Commercial Campaign. The Philadelphia Inquirer. 16 April 1998: D01

This article discusses Oprah’s participation in a tourism advertisement for Philadelphia. A few commentators praise Oprah and talk about her positive statements regarding the city. By J. Bruno

Bride of Chucky outdoes Beloved at Box Office. The Philadelphia Inquirer. 19 October 1998: D02

A movie gossip column that comments on Oprah’s successful acting performance despite poor box office showings of “Beloved”. By J. Bruno

Rea, Stephen. A lyrical and at Times Powerful Beloved \ Performances by Winfrey and others redeem Drama. The Philadelphia Inquirer. 16 October 1998: 03.

The critic reviews “Beloved” as flawed in its portrayal of plot, but claims that the performances of the actors and actresses compensate for the defects. By J. Bruno

Beloved / Touchstone Pictures ; a Harpo Films/Clinica Estetico production ; directed by Jonathan Demme ; screenplay by Akosua Busia and Richard LaGravenese and Adam Brooks ; produced by Edward Saxon ... [et al.].

Macklin, William R. Studying slavery from Hollywood to the halls of academe, there is a surge of interests in this cruel chapter of history. Examining it can be painful - and divisive. The Philadelphia Inquirer. 11 October, 1998: H01

The article discusses many media portrayals of slavery, particularly citing “Beloved” as the second Hollywood movie made about the treatment of slavery. Comparisons of the film are made to “Amistad”, a Spielberg film released 11 months prior to “Beloved”. By J. Bruno

Beloved

By J. Bruno

Before night falls.(Machuca)(Movie Review) Nation, The

This film received the highest audience rating of the entire film festival: 4.46 out of 5, causing it to receive the audience award in the “Danger After Dark Film” category. By S. Plukas

Dargis, Manohla. A Pair of Brothers Learn How Strong Gravity Can Be. The New York Times. December 2, 2005.

This film was the third most attended of the entire 2005 festival with an attendance of 833 in total. This shows that the international film community is continuing to intrigue residents of Philadelphia. No longer do the high attendances of film pertain to mainly films of the U.S. By S. Plukas

Allison Kris. The Ferpect Crime. Dated 2005. Stylus Magazine.

Opening night film for the 2005 Philadelphia Film Festival. The director of this film, Álex de la Iglesia, prior to “Ferpect Crime” had received the Phantasmagoria Award at the 2003 Philly Film Festival. His 2005 opening night screening proved to be the most popular film shown for residents of Philadelphia. There was an unusually high attendance for the film festival with a showing of 1,277 people. It was actually the highest attendance of people for the entire history of the festival, breaking last years record of 905 for Robert Hall’s film Lightening Bug. Even though this was a foreign film with subtitles, it was still highly appreciated which shows that Philadelphia film has begun to expand its interests internationally since last year when the opening night film was Spade, which was a U.S. based. By S. Plukas

Mad Hot Ballroom - Rotten Tomatoes

Although not produced in Philadelphia, Mad Hot Ballroom won the Audience award for best documentary. The film scored a 4.86 rating on a 5 point scale. The film recieved over 600 viewers in its showing. Mad Hot Ballroom caught the interest of many film goers in Philadelphia as well as around the country. By S. Plukas

Rickey, Carrie. A leisurely pause to enjoy a Phila. landmark. The Philadelphia Inquirer. Dated: July 29, 2005.

The film Rittenhouse Square takes place in one of the best known hang-outs in Center City Philadelphia. Downey portrays the square in a very positive manner and provides Philadelphians with a beautiful outlook on their city. With the film taking place so close to home, Rittenhouse Square was the second most attended film in 2005, with nearly 1,000 attendees. By S. Plukas

Music from the Inside Out. Date: February, 2005.

Music from the inside Out focuses primarily on Philadelphia's famous music orchestra. The orchestra which is known nationwide for their excellence is filmed playing to the question "What is music?" Philadelphia music lovers were amongst the over 500 attendees as you could enjoy music as well as a documentary. By S. Plukas

State Property II. Dated March, 2005.

State Property II was one of two films in this years Film Festival that took place in the city of Philadelphia. The film gives a straightforward look on crime that still takes place today in the 'rough' neighborhoods of Philadelphia. To an outside viewer, this gives a negative insight on Philadelphia culture. By S. Plukas

2005 Philadelphia Film Festival

By S. Plukas

Stallone, Sylvester. Encyclopedia of Hollywood / Scott Siegel and Barbara Siegel.

A short biography of the life of Stallone and the success of Rocky. This is a good resource for one looking for quick information on the successes and failures of Stallone. By D. Goldstein

Camera politica : the politics and ideology of contemporary Hollywood film / by Michael Ryan and Douglas Kellner.

Ryan and Kellner contextualize Rocky within the culture and society of its time. The authors state that the movie was made during “the second major recession of the decade” and that the film’s story barely hides its elements of working class racism. Ryan and Kellner see Rocky’s attack against the African-American Creed as a metaphor for the white working class’s resentment for the rising status of the African-American in 1970’s society. By D. Goldstein

Leab, Daniel J. Blue Collar Ethnic in Bicentennial America. American history/American film : interpreting the Hollywood image / edited by John E. O'Connor and Martin A. Jackson ; foreword by Arthur M. Schlesinger, Jr.

This criticism offers a small synopsis and background history of the film and its creation. Like Rocky’s other critics, Leab describes the title character as “The Great White Hope.” He claims that the success of the film rested on its reception by America’s White working class and that the film rejected the prejudices and fears of the Black movement toward equality in the 70’s. It is interesting that the move to a “Bicentennial America” meant a move toward racism. Again, I assume Stallone did not intend for this connection when he wrote Rocky’s script, but I’m sure the culture of the era influenced Stallone to unintentionally include the racist elements of the film such as Rocky’s degradation at the hands of an arrogant Black reporter. By D. Goldstein

Screening of America : movies and values from Rocky to Rain Man / Tom O'Brien.

O’Brien notes the misrepresentation of Black boxers in the film Rocky. He states that “in the last half century,” there has been only one great white boxer. The rest have been black. However, Rocky presents a White boxer as the great boxing champion. Implicit in the Rocky films is racism. Only after the Italian-American Rocky defeats Apollo in Rocky II does the African-American former champion choose to join his side and help him train. In this article, O’Brien posits that racism in society may have shaped how Rocky was written. By D. Goldstein

Martin, Joel W. Redeeming America: Rocky As Ritual Racial Dream. Screening the sacred : religion, myth, and ideology in popular American film / edited by Joel W. Martin, Conrad E. Ostwalt, Jr.

Martin posits that Rocky is a film rich with “ideological and mythical meanings” and conservative values. Martin sees Rocky not as a symbol of hope for the oppressed poor, but as retaliation against the Civil Rights movement of the late 1960’s which challenged the dominant power of European-American male. Martin implies that the theme of the oppressed white man may have conservatively shaped public attitudes in the late 70’s, leading to Reagen’s “New Right” of the 1980s. It is very interesting to see how a film such as Rocky may have had political implications as well as cultural ones. Martin interprets the portrayal of Rocky as the poor, oppressed white man fighting against the dominating Black man as a way of scapegoating African-Americans as the cause of financial difficulties at the end of the 70’s. Given the film’s popularity, it is reasonable to think that this message could have affected the views of many Americans. By D. Goldstein

Camby, Vincent. How to Cope with Creepy Rockyism. New York Times 4 Sep. 1977: 65.

Camby expresses his distaste for optimism in movies such as Rocky. He satirizes the optimism of Rocky and a number of other ‘feel good’ films through extrapolation of the events in the movie to a pessimistic outcome. For example, he claims that Rocky should end with Rocky being exposed as a pedophile. It is interesting to note that this is exactly the type of movie that Sylvester Stallone didn’t want to make when he wrote Rocky. By D. Goldstein

Flatley, Guy. After a Famine, A Movie Feast. New York Times 22 Oct. 1976: 49.

This article is a preview of upcoming films in November, 1976. The author states that 1976 (up to and including October of that year) was the “year of the bomb” and expresses his worriment over having a year of complete “blahs.” Rocky, the future recipient of the Oscar’s Best Picture Award recieves no more attention in this article than any other forthcoming movie. By D. Goldstein

Stallone, Sylvester. The Making of