The Ballad of Hank McCain

John Cassavetes stars in the title role of MACHINE GUN MCCAIN (1969) aka Gli Intoccabili, an Italian crime drama directed by Giuliano Montaldo.

Lean, mean and paranoid, convict Hank McCain (John Cassavetes) is sprung from prison by West Coast mobster Charlie Adamo (Peter Falk) to rob a Las Vegas casino that is owned by an East Coast Mafia boss in the same syndicate. Adamo’s underhanded attempt to muscle in on his fellow gangster’s territory ignites a gangland war between factions with McCain caught in the middle and running for his life after he successfully pulls off a $2 million dollar heist. Along the way, McCain is double-crossed by his own son, hooks up with Irene (Britt Ekland), a bar hostess, is briefly reunited with his former mistress Rosemary (Gena Rowlands) and goes down fighting in a genuine noir finale. Although it didn’t get any respect from the critics or even much notice from film reviewers at the time, Machine Gun McCain (Italian title: Gli Intoccabili, 1968) is a remarkably taut, fast-paced B-movie crime thriller that is as feral and cagey as its title hero. Cassavetes imbues his role with a pent-up intensity that threatens to explode at any moment and often does. It’s one of his best performances and demonstrates why he was more in-demand as an actor in Hollywood instead of a director.

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Looking for Love in All the Wrong Places

Director John Cassavetes broke all the rules, inventing his own and then discarding them as he went along. He improvised and experimented with everything from the cinematography to the performances to the actual financing of the film. He even mortgaged his own home numerous times to subsidize his movies over the years and took on acting jobs purely for monetary reasons. His directorial debut Shadows (1958), with its jerky, hand-held camerawork, vivid location shooting on New York City streets and edgy subject matter involving an interracial romance, is one of the most influential films to emerge from the independent New York City cinema movement of the 1950s. Yet, it was just a warm-up for Cassavetes’s next film, Faces (1968), which was even more provocative and unconventional. 

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