Too Late Blues

David Raksin's title tune is worth the price of admission
The Raksin theme (aka A SONG AFTER SUNDOWN) is the real highlight of the movie and gets TOO LATE BLUES an extra star. John Cassavetes directs what's generally regarded as a failure, albeit one with potential and some curiously good moments. The biggest problem is that the film doesn't concentrate enough on the music, or the beat-generation mentality, that defines it. It's too mainstream, and there was little freedom to explore, with any detail, the psychosexual connection between a hooker and an impotent musician. Darin and Stevens are obviously discombobulated by the Cassavetes knack for improvisation, and weak editing only compounds the problem.
The Olive Films' blu-ray looks sterling.

Bobby Darin--Underrated, but Great
This was the second film directed by John Cassavettes, and it suffers from his quirkiness, and terrible editing job. It was originally 4 hours long. Although I'm a fan of JC's anyway. With a character as complex as Ghost, and a back drop of the world of jazz musician's trying to make it, he could've had a classic, gritty film about the subject. He almost does. But what saves it and makes it worth while for me is Bobby Darin. He lives, breathes, and is Ghost Wakefield. Darin easily shows great emotion with his communicative brown eyes, and his pliable, handsome face. He's a natural, and it's a shame his health robbed him of the opportunity to do more film work. He has a dymanic presence on screen, sizzles with sexual undertones. Darin would only have gotten better and better as he matured.

Why I rate it high is because it belongs in any retrospective of the legendary, uncompromising director, and it gave Bobby Darin one of the most multi-talented entertainers of all time, a...

In his second film, director Cassavetes turns his eye on the jazz scene
An uncompromising jazz musician (Bobby Darin) holds firmly to his artistic convictions not to sell out for money and fame. But when he falls in love with a sad and wounded wannabe singer (Stella Stevens), he feels humiliated and ashamed when he can't physically defend her from a drunken thug (Vince Edwards) and he turns against her and his bandmates. After the critical success of his indie film SHADOWS (which won the Critics award at the Venice film festival) in 1959, director John Cassavetes second directorial effort was for a major studio, Paramount. Yet it doesn't have the feel of a slick Hollywood studio movie, it feels improvisatory and spontaneous (Cassavetes co-wrote the script) while retaining an authentic jazz milieu. Only the ending feels like a mainstream Hollywood film but I don't know if it was Cassavetes' idea or a compromise. The acting is excellent with both Darin and Stevens showing great potential that was never fully realized in either's acting career. Stevens, in...

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