| The Pros and Cons of On-Screen Improv |
|
| written by talltale |
March 4, 2005 - 3:18 PM PST |
|
2 out of 3 members found this review helpful
|
Rob Nilsson's SIGNAL 7, made in 1983, must have been one of the earliest shot-on-video movies. Low-budget in the extreme, it covers some time in the lives of San Francisco cabbies who are trying to unionize, get laid, and (in the case of a couple of 'em) become working actors. The move works only in fits and starts, and it is quite reminiscent of the films of John Cassavetes. While Cassavetes was wonderful with actors, occasional dialog and moment-to-moment "life," he was often atrocious with plotting, content and anything remotely approaching dramatic arc. That critical description also pretty much sums up the pros and cons of improvisation--another hallmark of Cassavetes and "Signal 7," which credits Nilsson with the story and the actors with the dialog.
The scene between one cabbie and a young woman from Israel is awful: fake and sentimental from either angle--hers or his. Other scenes seem real and offer more context (economically, politically) than I recall Cassavetes giving us. And as with Cassavetes (this film is dedicated to him, so I don't think I am making too much of the comparison), most of the screen time is devoted to the guys. Women show up only as cab passengers, or personified by the Israeli and one long-suffering wife in the final scene. After awhile, even with the short running time, you begin to wonder if the film is going anywhere--and then, if it's worth the trip. Decide for yourself. One thing to keep in mind: Cassavetes often had the likes of Gena Rowlands, John Marley, Peter Falk and Ben Gazzara to work with. While the "Signal 7" cast is generally OK, comparisons do not do these actors any favors. |
|
|
Your cart
© 2006 All Media Guide, LLC. Portions of content provided by All Movie Guide®,
a trademark of All Media Guide, LLC.