https://www.indiewire.com/features/commentary/john-cassavetes-minnie-and-moskowitz-best-movies-1235218147/
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“Cassavetes sets the tone right from the beginning, in a scene between Moskowitz and a fellow diner in a restaurant.”
““Minnie and Moskowitz” screens at the New Beverly Cinema on September 29 and 30.”
“The director exploited the real-life dynamic between Rowlands (to whom Cassavetes was married for most of his adult life) and Cassel.”
“Cassavetes’ next film was another studio movie, and based on its premise alone one might think it was a better commercial fit for Hollywood than his earlier work.”
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“While his debut feature, “Shadows” (1960), was truly independent, Cassavetes followed it with two studio gigs, on “Too Late Blues” (Paramount, 1961) and “A Child is Waiting” (United Artists, 1963).”
“Read More: Film Gena Rowlands John Cassavetes Minnie and Moskowitz New Beverly Cinema Daily Headlines Daily Headlines covering Film, TV and more.”
““Husbands” was made for Columbia, and Cassavetes would complain once again about the compromises that came with institutional filmmaking.”
“Most of these experiments flopped, but it didn’t matter — the one hit to come out of the unit, George Lucas’ “American Graffiti,” more than paid for the rest.”
“Ultimately, major studios financed and distributed half of the 12 features he directed.”
“The New Bev is showing a 35mm print of “Minnie and Moskowitz” on a double bill with another superb dramedy starring Rowlands, Lasse Hallström’s “Once Around.” Given the rarity of both films on the repertory circuit, it’s a double feature not to be missed if you’re in L.A.”
“The comic tension embodies Cassavetes’ approach to the entire film, which involved some not-so-subtle manipulation of his actors behind the scenes.”
“There’s also a parade of comic supporting turns that recalls those classic Hawks and Sturges comedies in the breadth and depth of the character actors Cassavetes employs.”
“Yet Cassavetes plays the whole thing at a kind of light, breezy pitch, directing “Minnie and Moskowitz” as though it’s just another escapist crowdpleaser.”
“By Jim Hemphill Plus icon Jim Hemphill JimmyHemphill More stories by Jim How a Sequel to a Movie Barely Anyone Saw Became a Sensational (and Originally X-Rated) 1980s Indie Read more Neil Jordan on Making His Homoerotic ‘Interview with the Vampire’ for a Major Studio with A-List Stars Read more One of the Year’s Best Film Books Celebrates the Unsung Artists That Turned ‘The Women’ Into a Classic Read more September 23, 2026 12:30 pm Add us as a Google Preferred Source 'Minnie and Moskowitz' Courtesy Everett Collection Share Share on Facebook Post Share on LinkedIn Show more sharing options Submit to Reddit Pin it Post to Tumblr Email Print This Page Share on WhatsApp Writer/director John Cassavetes is widely considered, with ample justification, to be the godfather of independent filmmaking in America, a maverick whose intensely personal and unconventional work paved the way for later iconoclasts as varied as Abel Ferrara , Hal Hartley, and both Safdie brothers.”
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“He followed his two unhappy (by his account, not his fans’ or history) studio experiences with another self-financed indie, “A Woman Under the Influence” (1974), that scored Oscar nominations — this time for Rowlands as Best Actress and Cassavetes as Best Director.”
“(Though, ironically, Tanen reportedly hated it and wanted to dump it to television.) For Cassavetes, history repeated itself.”
“That came in the form of three Academy Award nominations: for Cassavetes’ screenplay and two performances (Seymour Cassel and Lynn Carlin).”
“To the outside viewer, however, it’s difficult to imagine a less compromised piece of work: a structurally unconventional portrait of three men (Cassavetes, Peter Falk, and Ben Gazzara) who begin the movie lost and achieve only minimal enlightenment by the story’s end.”