Released: 1976

Dir.: John Cassavetes

First time viewing reaction and refers to the preferred 1978 edit rather than the 1976 theatrical version.

Last night I had my first run in with a John Cassavetes film, not as an actor, but as writer/director. I’ve heard you’re either going to love or hate Cassavetes films, and I have to say, I really liked The Killing of a Chinese Bookie. A unique take on the film noir/neo-noir genres.

The film tells the story of Cosmo Vittelli (Ben Gazzara), owner of a Parisian inspired burlesque night club in Los Angeles. The opening scenes draw you in like the first day at a new job as you tour the Crazy Horse West, watch Cosmo do what he’s probably done thousands of times, announcing the next act. Even though it’s old and tired, it’s somehow new, like the beginning of a new phase of life.

Cosmo is a straight up guy, operating his business on the up and up. He’s dating one of the club’s performers, but he’s faithful, and has tremendous respect for the young lady’s mom. However, Cosmo is far from perfect. He has a gambling problem and is into the Mob for 23 large, Cosmo’s run out of credit, and the Mob wants their money now.

With Cosmo, a debt is a debt of honour, and wants to pay. As collateral, the Mob has Cosmo sign over his club until the debt is paid. Cosmo has bought some time, but how much? The Crazy Horse West is Cosmo, and vice versa.

The next night, the gangsters show up at the club with an offer, more of a demand really, for Cosmo. They want Cosmo to find a Chinese bookie, whose been infringing on their territory, kill him, and in exchange Cosmo’s debt will be erased. The catch, he must do it right now. The Mob have everything mapped out for Cosmo, the location, guards and guard dogs that will need to be distracted or silenced, the car he will use, the gun, and the escape route. They are counting on Cosmo’s Korean War experience to see him through, as they offer up the receipt for his debt, which they insist Cosmo rip up as a sign of agreement. Cosmo rips up the receipt, and although the hit is successful, it doesn’t quite go as planned.

What I found interesting was the dynamic of the gangsters. They always send one guy to see Cosmo, whether it’s Mort (Seymour Cassel) or Flo (Timothy Carey), who insist Cosmo come to talk to some friends of theirs who always turn out to be the same gang of guys, including the Boss (Morgan Woodward). They then passive aggressively bully Cosmo, insisting they like him, they’d really like to have him come back to their clubs, but there’s this nagging problem that still exists and needs to be resolved first. But hey, we’re still one big happy family.

This gang operates as a unit, very little is accomplished individually, as they collectively pepper Cosmo with instructions and information. It’s only when there’s a double cross that the gangsters hand off duties like a relay race, never really acting alone as one of them is always lurking in the shadows nearby.

Ultimately, The Killing of a Chinese Bookie is not so much about the killing of the Chinese bookie, as it is about the deconstruction of Cosmo as a man and as a human. The gangsters come off rather gutless in comparison to Cosmo. Cosmo can handle himself when he’s alone, think on his feet and survive. He is also creative and believes the people around him can truly achieve great things if they set their mind to it, and work together. The Crazy Horse West may be Cosmo’s baby, but his staff and entertainers are all a part of its success, and can function and succeed even, heaven forbid, without Cosmo.

Of course, what drew me immediately into the film was its aesthetic. It is shot in a beautiful cinema verité-like style. The camera is frequently in close on the characters, which is especially effective when Cosmo is receiving his instructions from the gangsters inside The Boss’ Cadillac. It puts you in the car with Cosmo, where he, and you, have no choice.

There is a strong sense that much of the dialogue is improvised. I don’t know if this is true of Cassavetes of other films, it likely is, but you do feel you are looking in on the real lives of these characters. There is a scene towards the end of the film where his entertainers are late going on stage because the singer, Mr. Sophistication (Meade Roberts) is unhappy about his role with the troupe, and Cosmo talks the group through the crisis. It is a terrific scene of motivation and art that completely plays like it is coming straight off the top of the actor’s heads. That scene could have continued for another five minutes, and I would not have been bored.

I can see how a John Cassavetes film may not be for everyone. The Killing of a Chinese Bookie takes the neo-noir genre and turns it on its ear and digs deep into themes that aren’t entirely related to a crime film. Thoughts on creativity at the end of the film completely overshadow the criminal aspects of the story, possibly showing that integrity, honesty, and beauty, beyond the physical, are what truly matter in society. How dare a filmmaker pull such a nasty trick in a crime film.

Anyway, I might just give another Cassavetes film a try in the near future.

The Killing of a Chinese Bookie is streaming on the Criterion Channel.