A wonderful documentary will be premiering tomorrow night, June 1, at 8pm on HBO. It’s called I Knew It Was You: Rediscovering John Cazale. Clocking in at a mere 40 minutes, it’s a profile of one of the best character actors of the 70s. Well, Hell, of all cinema.
Here’s the trailer…
I’m lucky to be friends with the doc’s director, Richard Shepard, and its editor, Adam Lichtenstein. When I saw the film at its Brooklyn premiere last August, I sent them an e-mail with my reaction, which was pretty laudatory. At the end I wrote: “PS So when is this gonna be on HBO? Maybe I’ll finally start my blog in time and put these e-mails up as a post.”
Gratefully, HBO gave me a few months to start Peel Slowly and get my sea legs. So, as I promised, here’s excerpts from that e-mail, written hours after I saw the doc and still on a high from it…
I imagine calling a film “a valentine” is something of a diss, and yet you found a way to be loving without being shameless, touching without being maudlin, and most importantly, you put Cazale on a pedestal but make us damn sure he belongs there. There isn’t one quote that isn’t supported by a clip or a still that does it justice.
This stuff is very tricky for me. I have a real problem embracing anything that scrutinizes 70s cinema. I don’t know why. That Raging Bulls, Easy Riders book, those docs from a few years ago, Stephen Bach’s book about Heaven’s Gate [Final Cut], and so on–all these things do too much of one thing or not enough of another. Adam had already forewarned me that this was NOT a doc about 70s cinema, per se, but in some nutty way, it’s probably the best thing I’ve seen that captures the importance of that era and the shift away from classic looks, classic acting, classic choices of prior decades. I have this theory that if you do it well, you can study one aspect and in turn summarize a much larger trend or period. John Cazale–and the contributions he made to those films–does that.
It’s also been a long fantasy of mine to make a doc about character actors, and I think your doc proves my point. One of these days, I’ll make that one.
The length is perfect! Perfect. I’m of the mindset that every film is too long, and every documentary is too longer. I really appreciate this film’s length, even though its probabaly excluded you from a lot of festivals and venues, right? Well, screw them. Ten minutes shorter and I’d be too hungry for more; ten minutes longer and I’d start thinking, Man, this guy’s forehead is really big!
It’ss the only time in the last 25 years I’ve thought Al Pacino was cool. Now, I’ve never been a Pacino junkie–I’m just a huge fan of some of the films he’s been and his contributions to them–so the fact that he’s evolved into this Patron Saint of Overacting bores me to tears. He bears no resemblance to the guy in the films you reference. So, coming into this doc, I was already prepared to take him with a grain of salt. And sure enough, there his is: bushy hair, leather shirt (OK, I don’t know if it was leather, it just seems to me that that’s what he wants to wear), husky voice (which I think is fake). And miraculously, for all of his praise he never ONCE sounds like he’s bullshitting. He seems unable to top himself in praise of his old buddy, and it always feels genuine. He still looks like an asshole (to me) but clearly isn’t. And I think there’s two men to thank for that: John Cazale and Richard Shepard. A really well-prepared and genuine interviewer can bring the best out of people, encourage them to shrug off the pat answers, and let their guard down.
I’m really grateful you made this film.
Though you might not believe it from what you just read, I do have a gripe about the film—one crucial clip that I felt was missing—and so I’ve decided to post it here. (Consider it a tease for the doc.) It’s the “banana daiquiri” exchange from The Godfather, Part 2, when Michael and his brother Fredo are talking over drinks in Cuba:
A man, helpless and out of his element, asks his kid brother for some help, and the brother gently responds, with good humor. Sweet and subtle (two words I don’t normally associate with either Godfather film). To me, it’s the films’ best positive example of the transference of big brother/little brother status. (As opposed to the negative example, which is, of course, Fredo hugging Michael around the waist, while sitting in the chair.) It’s a perfect example of actors feeding off each other (which is discussed at length in Shepard’s doc). It also may be Michael’s lone likable moment in the film, and therefore Coppola really needed it to be there. (If you’d like to see the whole scene, I posted that as well.)
Interestingly, there’s a version of the screenplay for The Godfather, Part 2 (labeled “SECOND DRAFT”) that doesn’t have this scene at all. When it entered the shooting schedule is a mystery, but it’s a huge contribution to the notion that Fredo is the real heart of that film (if I remember correctly, this notion is discussed in the Cazale doc).
Anyway, regarding Richard Shepard’s documentary, It Knew It Was You: Rediscovering John Cazale…see it.