Announcement of “Love Streams”, in the context of Gena Rowlands and John Cassavetes and husband and wife, co-actors, and director and actor. Continuation of Cassevetes career as defined in the Philadelphia press by his marriage to Gena Rowlands.  By G. Bond

Negative review of Love Streams. Prior to his death, there were still mixed feelings within the Philadelphia critical press about Cassavetes. Lyman says, “All the time-tested Cassavetes staples are on view in Love Streams - intense close-ups, extreme long takes, a focus on character rather than narrative… In his best movies - such as Faces (1968) - these artsy effects gave the movie a gut-wrenching improvisational quality. In Love Streams, they feel old- fashioned, one last self-congratulatory beatnik wail.”  By G. Bond

Prior to Cassavetes’s death, the Philadelphia critical press wasn’t sure what they thought about him. While he praised “Gloria”, Baltake uses his review for “Love Streams” as a means of waxing analytical about Cassavetes and his aesthetics. “It's ironic, really. The problem with cinema verite - film that's devoted to "truth" and "reality" - is that, more often than not, the results look more silly than serious. There's a certain messiness to real life that evades the kind of structure that most people expect from movies. Films that attempt to capture "real time" on screen or that are based on candid spontaneity, improvisation and voyeurism tend to seem vague. Stripped of a definite beginning and ending and lacking a direct theme, a film of this nature doesn't seem to be about anything at all. Viewers have nothing to latch on to, nothing to watch - other than a director and his cast going through an eccentric theatrical exercise. Such is the case with John Cassavetes' "Love Streams."  By G. Bond