A positive review from a local critic declaring the film “a satisfyingly taut suspenser.”  By A. Long

Back to Bochco. Mark-Paul Gosselaar, who played Detective John Clark on Steven Bochco's NYPD Blue from '01 to '05, will rejoin his old boss on the new hit drama, Commander in Chief. The show (and many other produced by Bochco) have difficulties generating interest within the younger viewer demographic. Positive local reception of his shows remain concentrated in much older viewers, with an average age of almost 60.  By A. Long

Review of the Fugazi album, “In on the Killtaker”. Review starts off with, “Fugazi makes records the way the late, great John Cassavetes made films - with iron-willed independence and a rare gift for portraying harrowing worlds of raw emotion.” It’s interesting to see how the Philadelphia critical press approaches this album review through the Cassavetes song and the significance he has in the world of independent media.

Philadelphia learns of Cassavetes’s death and begins to explore his career.  By G. Bond

Popularity of the convertible, as evidenced by the celebrities who drive the, including John Cassavetes and Gena Rowlands. Indication of Cassavetes’s level of celebrity in Philadelphia.  By G. Bond

Life of this chef and restaurant owner, whose restaurant Konstantino’s, “attracted notables including Peter Falk, John Cassavetes and the former Princess Irene of Greece.” Fifteen years after shooting “Mickey and Nicky”, and one month after his death, Cassavetes is remembered as being one of the celebrities that graced Janus’s restaurant, an indication of the mark he left after his short time in Philadelphia.  By G. Bond

Alexandre Rockwell, the director of “In the Soup”, is refered to as a “John Cassavetes-Sam Fuller protégé”.  The Philadelphia critical press places Alexandre Rockwell in a lineage forged by John Cassavetes, once again keeping Cassavetes in a historical context.  By G. Bond

The exhibition, titled “Gloria” and concerning feminist art of the 1970’s, partially inspired by the Cassavetes film of the same name. Evidence of the continuing presence of Cassavetes on the Philadelphia art scene.  By G. Bond

One year after his death, Philadelphia’s International House takes up the job of commemorating him with a 12-title retrospective. Not only does the International House make a step in the direction of canonizing Cassavetes, but Ryan does his part too, meditating on Cassavetes and his roles as director and actor. By G. Bond

"Like Cassavetes, he is at his best in finding the revealing moment of truth in a mundane remark or admission." Another illustration of the importance of Cassavetes to the Philadelphia critical press and their means of discussing "edgy" cinema. By G. Bond

There have been numerous screenings of Cassavetes’s films throughout Philadelphia since his death, and they have served an important part in the continuation of his legacy. In his brief synopsis promoting the screening, Ryan writes, “The late and much lamented John Cassavetes financed his adventurous career as a director by acting in flagrantly commercial movies. His own films found only a cult following, with the exception of Gloria, starring Gena Rowlands (Cassavetes' wife) as a gangster's moll in a witty variation on Little Miss Marker. The film offers the spontaneity of Cassavetes' more experimental work in a more disciplined format. By G. Bond

As a Philadelphia critic, and the one with the most experience with Cassavetes, it is fitting that Ryan writes his obituary for The Philadelphia Inquirer, and so he begins the posthumous canonization, finding a way to define his work in the context of history and its great influence and importance.  By G. Bond

Desmond Ryan reveals his love for Cassavetes in this overall negative review. While Ryan did not like the film, he blames the writer, explicitly saying Cassavetes did what he could with the script.  By G. Bond

The film was shot in Philadelphia in 1973. The usually Cassavetes-friendly Ryan does not like “Mikey and Nicky”, but still manages to say something nice about him, “it is gruesome to think how bad this film would be without Peter Falk and John Cassavetes in the leads”. He even goes so far as to praise his directing unprovoked, “the inescapable conclusion is that Cassavetes, for all his faults, does this kind of film with more spontaneity and impact.”  By G. Bond

In discussing Kasdan’s balancing his career between projects like “Raiders of the Lost Ark” and more adult films like “The Big Chill”, Kasdan, “does not see himself as an artist who toils in flagrantly commercial enterprises to finance his important work - a defense John Cassavetes offers for some of the roles he takes. A seemingly unprovoked reference to Cassavetes, such as the one made by Ryan here, both serves to indicate the extent to which Cassavetes and his characteristics as an actor and a director have become ingrained in the language of filmmaking, and it serves to confirm his place in film history.  By G. Bond

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

Ryan demonstrates the contemporary view of Cassavetes and his balance between his artistic directing work and his B-movie acting work, “Cassavetes' excuse for incubating is that the money he earns from trash like The Incubus helps pay the bills for his own work as a filmmaker. The price of a Gloria is very high, and he had better make something equally good to atone for slumming through The Incubus.”  By G. Bond

This small article from The Philadelphia Inquirer shows how Cassavetes and Rowlands were, at least partially, defined in the media by their working marriage. By G. Bond

This review of “The Tempest” illustrates Ryan’s admiration for Cassavetes as an actor, but this praise cannot be removed from his love of his directing. “Phillip, the Prospero of Mazursky's story, is played by John Cassavetes with a fervor that makes one wish his passion for directing allowed him more time in front of the camera”  By G. Bond

Philadelphia’s habit of Cassavetes retrospectives moves from International House to Temple University Cinematheque.  By G. Bond

“Faces” is being screened at the Temple Cinematheque in Philadelphia. Another instance in the maintaining of Cassavetes’s legacy through retrospective screenings.

Cassavetes’s “A Woman Under the Influence” is inducted into the National Film Registry.  Cassavetes is canonized by the government.  By G. Bond

Review says, “Seymour Cassel, the veteran of so many John Cassavetes pictures - pictures that Trees Lounge evokes in its emphasis on characters over plot - also turns up briefly.” An indication of the presence of Cassavetes on the conscious of the Philadelphia critic, as well as the extent to which even after his death, Cassavetes remains in dialogue with independent cinema. By G. Bond

In her review for “The Big Dis”, Rickey points out the influences of Cassavetes of the film’s makers, from its handheld 16mm cinematography to the productions that “state that the script is based on an improvisation by the cast”.  By G. Bond

John Cassavetes retrospective at the International House, specifically “Opening Night” and “Husbands”. By G. Bond

At this early point in figuring out Cassavetes’s place in film history following his death, Carrie Rickey makes a statement for his canonization. It is also impressive because, while she got the film wrong, Cassavetes did make the National Registry with “A Woman Under the Influence”.  By G. Bond

Article on 1986 Los Angeles Film Critics Awards. John Cassavetes is given the career achievement award. Philadelphia was made aware of the significance of Cassavetes’s career.

Review says, “’In the Soup’ also stars Seymour Cassel, a big bear of a character actor and repertorial fixture of an earlier era's indie film pioneer - John Cassavetes. The Philadelphia critical press demonstrates its awareness of the history of independent cinema by connecting this film’s being an indie film with Seymour Cassel, the film’s link to the birth of independent cinema and John Cassavetes.  By G. Bond

Godard dedicated “Detective” to John Cassavetes, Edgard Gulmer, and Clint Eastwood, saying, “I dedicated the film to these three because of the way they have been able to make movies outside the system, the way they have beaten the system.”  The publishing of this article in The Philadelphia Inquirer is a testament to the love of cinema in Philadelphia, but it also serves as further propagating the legacy of John Cassavetes, particularly from such a widely recognizable name.  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

Through this article, The Philadelphia Inquirer provided a voice for Bogdanovich, openly making the statement that he prefers Cassavetes to the “cartoon-like” work of Lucas and Spielberg, and thereby makes a step forward for independently-minded cinema.  By G. Bond

Discussion of the American New Wave, centered around Cassavetes’s “Shadows” as “probably the most influential and important movie of the American New Wave” and “a stark, realistic and improvisational classic”.Again, between the retrospective itself and the article in The Philadelphia Inquirer, Philadelphia has contributed to the life of “Shadows” and Cassavetes’s work as a whole.  By G. Bond

In this article for the television section of The Philadelphia Inquirer, the story is told about how Matt Laborteaux got his role in “A Woman Under the Influence” when Cassavetes asked him if he could cry on the spot, and when he could, he gave him the job. This is one of the most famous stories of John Cassavetes, and here in this article on the stars of “Little House On the Prairie” in the television section of the Philadelphia paper, the legend grows a little bigger.  By G. Bond

In The Philadelphia Inquirer, Kevin L. Goldman wrote this article talking about Hollywood’s use of Atlantic City. Cassavetes is used as the focal point of the film and its interaction with the space of Atlantic City.  By G. Bond

Philadelphia’s reception of news from the international film festival regarding Cassavetes, with a very positive review of his performance.  By G. Bond

The video release of “The Killing of a Chinese Bookie”. The brief description of the film says it is “shoddy and pretentious”, but that it has a “quirky charm”. While not terribly significant, this is evidence of the presence of John Cassavetes in the Philadelphia conscious.  By G. Bond

Barely four months after his death, and there is already a tribute documentary. This is an indication of his significance, as is the fact that he is referred to as “one of film’s great mavericks”.  By G. Bond

Celebrating the culture of pasta restaurants in Philadelphia, one of them lists John Cassavetes and Peter Falk among its star clientele.Twenty-five years after Cassavetes and Falk shot “Mikey and Nicky” in Philadelphia, their visits to restaurants are still recalled as signs of the golden era. By G. Bond

In a formal interview, Oprah Winfrey discusses the preparation involved in playing an African American slave in “Beloved”. Jonathan Demme, the director, also comments on Oprah’s historical treatment of the character she plays. By J. Bruno

Critics comment on the reasons for the poor box office returns of “Beloved”, specifically citing plot structure and budget issues as the cause rather than the focus on African Americans as protagonists. By J. Bruno

Toni Morrison, author of “Beloved”( the book on which the film was based) goes to Temple University in Philadelphia for a free symposium, coinciding with Temple’s week of dialogue on race.  By J. Bruno

This newspaper article depicts a movie gala for “Beloved”, hosted by Oprah Winfrey at the United Artists RiverView Plaza 17 in Philadelphia for charity benefits. The author describes the sights and sounds of the benefit, including Oprah’s positive appraisal of the city of Philadelphia.  By J. Bruno

Basically the article talks about the historical props and artifacts that designers looked for to put in the film. The producer, designer, and art director for the film talk about the process they went through in looking for specific pieces.  By J. Bruno

This article discusses Oprah’s participation in a tourism advertisement for Philadelphia. A few commentators praise Oprah and talk about her positive statements regarding the city.  By J. Bruno

A movie gossip column that comments on Oprah’s successful acting performance despite poor box office showings of “Beloved”.  By J. Bruno

The critic reviews “Beloved” as flawed in its portrayal of plot, but claims that the performances of the actors and actresses compensate for the defects.  By J. Bruno

The article discusses many media portrayals of slavery, particularly citing “Beloved” as the second Hollywood movie made about the treatment of slavery. Comparisons of the film are made to “Amistad”, a Spielberg film released 11 months prior to “Beloved”.  By J. Bruno