Saying goodbye to authentic, complex & fearless Gena Rowlands
Oscar-nominated actress Gena Rowlands, renowned for her powerful performances in films like “A Woman Under the Influence” and “Gloria,” has passed away at the age of 94. Her illustrious career, which spanned nearly seven decades, included significant collaborations with her husband, director John Cassavetes, and earned her numerous accolades, including three Primetime Emmy Awards and an honorary Academy Award in 2015.
Gena Rowlands began her career in dramatic television with notable performances in anthology series like Robert Montgomery Presents, Alfred Hitchcock Presents, and The Alfred Hitchcock Hour, showcasing her talent in complex roles that would later define her film career.
In the gripping episode “The Lonely Hours” of The Alfred Hitchcock Hour, Gena Rowlands delivered a riveting performance as a young mother locked in a psychological battle with Nancy Kelly’s character, a deranged woman who kidnaps Rowlands’ son. Rowlands skillfully portrayed the anguish and determination of a parent facing every mother’s nightmare while engaging in tense verbal exchanges with her son’s captor. Her nuanced portrayal showcased her ability to convey complex emotions, foreshadowing the intense dramatic roles that would define her later career.
Her portrayal of a mother confronting her son’s AIDS diagnosis in An Early Frost earned her critical acclaim and her first Emmy nomination, highlighting her ability to tackle sensitive and challenging subjects on screen. She even appeared in the episode Playback that aired on March 2, 1975, of Columbo, where she plays Elizabeth Van Wick, the wheelchair-bound wife of the murderer Harold Van Wick, portrayed by Oskar Werner, who kills her mother, Myrna Loy.
Rowlands broke new ground in Indie cinema. In The Notebook, Gena Rowlands delivered a poignant performance as the elderly Allie Calhoun, skillfully portraying the emotional depth of a woman grappling with dementia while reflecting on a profound romance from her youth. Her ability to channel personal experiences, particularly her own mother’s battle with Alzheimer’s, added authenticity to the role, resonating deeply with audiences and contributing to the film’s lasting impact.
Gena Rowlands: A Woman Under the Influence of Brilliance
The alchemy of Gena Rowland's acting style is how she integrates her craft with an indescribable beauty and presence that is reminiscent of Hollywood's Golden Age.
Before the emotionally distilled and complex actress emerged as an icon, Gena Rowlands set out with her husband, John Cassavetes, to create a new naturalistic landscape of independent American movies in the 1970s that inspired generations of filmmakers. She began showing the attractive pull of her strength in dramatic teleplays for early television programming.
Shows like Robert Montgomery Presents, Ponds Theater Armstrong Circle Theatre Studio One, The United States Steel Hour, Goodyear Playhouse, General Electric Theater, and of course Alfred Hitchcock Presents and The Alfred Hitchcock Hour. She had a regular stint on the television police procedural series 87th Precinct, playing cop Robert Lansing's deaf wife. In 1975, she starred alongside Peter Falk (One of Cassavete's inner sanctum of actors along with Ben Gazzara) in Columbo's season 4 episode Playback.
In feature films, she was cast as Jerry Bondi in Lonely Are the Brave in 1962, in Cassavetes' A Child is Waiting in 1963, and in Gordon Douglas' Tony Rome 1967, starring friends Frank Sinatra and Richard Conte.
Working since the mid-1950s, Rowlands began to give shades of the forceful performances to come in the three episodes of Hitchcock's series, in particular, The Lonely Hours, playing off veteran stage actress Nancy Kelly.
Gena Rowlands was nominated for two Academy Awards for her performances in director/actor husband John Cassavetes' films. In 1974 for A Woman Under the Influence and in 1980 for her gutsy portrait of one tough broad in Gloria 1980.
She was also nominated for eight Golden Globes having won two, and eight Emmys winning three. On November 14th, Gena Rowlands was finally given an Honorary Oscar at the Governors Awards ceremony.
"With her bold bone structure and the curtain of her wheat-gold Jackie O coif, Gena Rowlands is the classic Hollywood icon that got away"¦. Had she been born into the Studio ear of the 1930s or 1940s, one suspects that she would have sured up a career running across the grand roles, from the tough boots molls through to the stoic others and peppery femme fatales. She has the angular hardness which typifies the best of them in that period- one can imagine her, as easily as Crawford, Davis, Stanwyck or Bacall." -bfi.org.uk
"I'd never seen anyone that beautiful with a certain gravitas. It was particularly unique in that time, when many women were trying to be girlish, affecting a superficial, "˜I'm a pretty girl' attitude. It seemed to be the best way to succeed, but Gena did none of that. There was a directness"”not that she wasn't fun and didn't smolder"”but it came from a place that was both genuine and deep." "“ Mia Farrow
Director Sidney Lumet in an interview with critic James Grissom, said: "The highest compliment I can pay to her"”to anyone"”is that the talent frightens me, making me aware of the lack of it in so many and the power that accrues to those who have it and use it well. And the talent educates and illuminates. She is admirable, which can be said of only a few of us."
In Faces 1968, nominated for 3 Oscars, Rowlands plays prostitute Jeannie with director Cassavetes with something like steel and fearlessness behind her eyes, asserting a challenge to try and reach her after being crushed by men. Rowland manifests a performance "˜aching with wordless solitude' (Ebert)
In the visual poem about loneliness and the feeling of isolation, Minnie & Moskowitz 1971 stars Rowland as the edgy blonde Minnie who perceptively flickers with co-star Seymour Cassel and displays her captivating sensuality under Cyclopean sunglasses.
Minnie works in a museum and has never forgiven the movies for selling her a bill of goods. "The movies lead you on," she tells her friend Florence. "They make you believe in romance and love . . . and, Florence, there just aren't any Clark Gables, not in the real world. Still, Minnie dreams, and keeps a romantic secret locked in her heart: She's glad the movies sold her that bill of goods. (Roger Ebert)
Rowlands garnered her first Oscar nomination for her unforgettable performance as Mabel Longhetti in A Woman Under the Influence 1974, co-starring Peter Falk, who is in the grips of Mabel's mental illness.
"It left me exhausted and depressed-feeling. Some of the time, when you're walking out there where the air is thin, you just hope you can walk back again." -Gena Rowlands.
From an interview with Matt Zoler Seitz "“ talking about A Woman Under the Influence-
"That was my favorite movie. I loved doing that movie. I loved it because I loved working with Peter Falk, I loved the mix of comedy in it, that was sort of real comedy.Â
The film was about a woman who was obsessed with the love of her husband, for her husband. And he was a regular guy, worked for the city, had to do his work at night, or in daytime when there was a call for it. She plans so heavily for a romantic night, gets her mother to take her children over to her house, gets house in tiptop shape"”she was a woman who was really obsessed. Then he got a call that the water line had broken and had to call her and say that he couldn't come home later, and then he came back the next morning with all of his friends, and she was very happy to see him to offer them all breakfast, but mostly because she wanted to please him always, and she offers to make them spaghetti. Do you remember that scene?
Yes, I remember the spaghetti scene. Everybody remembers that scene, it was a great scene.
"It's so wonderful to do a scene like that, where it feels so true. You can tell a lot about her in that scene. You see that everything she did was to please him"¦
I also liked the fact that in that film, I was a little wacko, but my husband understood that and he loved me, and it didn't bother him that I was as strange as I could be. When I have this terrible breakdown and have to go away for a while, leave him and my children, oh"”that's a hard scene. We're showing a hard moment in a person's life, a terribly hard moment. Then she comes back and they try to make it easy for her as possible. It's just so good, all the scenes."
As Myrtle Gordon, Rowlands gives another masterful performance in Cassavetes' Opening Night portraying a successful stage actress's "˜final agony of bottoming out' (Ebert), rehearsing a production of The Second Woman in New Haven, whose life is turned upside down after she witnesses a 17-year-old fan's death outside the theater.
Gena Rowlands in Opening Night 1977.
Rowlands plays the role "At perfect pitch: She is able to suggest, even in the midst of seemingly ordinary moments, the controlled panic of a person who needs a drink, right here, right now." (Roger Ebert)
She captures the restless energy that imbues the behind-the-scenes world of the theater and the "˜dreary perspective of Myrtle's uninspiring production she stars in.' (Chris Wiegand- The Guardian).
"All while descending into a prolonged crack-up involving binge drinking, consultations with mediums, and a repeat hallucination of a young girl"¦ Early on, when Myrtle is first confronted with the hallucination/girl, there's a closeup of Rowlands' face that is an example of her unique genius. Even very talented actors feel the need to show an audience "what a moment is about." Not Rowlands. In that closeup, Myrtle stares at the girl, wondering if she has finally lost her mind, and then she puts an almost welcoming expression on her face, before mouthing the word, "Hello!" It's hair-raising." Ebert)
Nipping at booze, Myrtle trips between reality on and off stage, drenched in an alcoholic delirium "“ "Rowlands' drunkenness in "Opening Night" is in the pantheon of Great Drunks onscreen." (Roger Ebert).
Myrtle drifts in and out of character, conjuring visions of two women who do not exist. Virginia the role for which she is wary of, struggles to portray an older woman for the first time, a character who is aesthetically defined by her age. And embracing the phantom of Nancy, the young girl who died, whose youthful receptiveness is what she seeks to direct, all within an oppressive environment driven by the men she works with, director (Ben Gazzara) and ex-lover co-star (Cassavetes).
How can you bring a character alive if you don't believe in them "“ Myrtle asks playwright Sarah Goode played by Joan Blondell. Myrtle needs to reclaim her identity on stage and for herself.
"The scenes in which Myrtle in Opening Night consults first one and then another spiritualist are typical of Cassavetes' genius in filming madness. He gives us characters who are clearly breaking apart inside, and then sends them hurtling around crazily in search of quick fixes and Band-Aids. (In "Love Streams," the hard-drinking Cassavetes surrounds himself with hookers, while Sarah (Rowlands), as his sister, fills a taxicab with animals she has "rescued" from a pet store; in "A Woman Under the Influence," a crowd of basket cases sit down to eat a big dinner that has been whipped together under the delusion that life is normal and everybody is having a great time." Roger Ebert
Gena Rowland in Gordon Douglas' Tony Rome 1967.
In Gloria 1980 directed by John Cassavetes, a film Rowlands considers a "˜gangster comedy,' gets to play the hard-edged gun moll she would have perfected in the best film noirs of the 1940s. The film takes an unexpected approach to motherhood- as Gloria Swenson becomes the reluctant guardian of a little boy whose family is murdered by the mob. The two go on the run in the gritty streets of New York City in possession of a book that the mob wants. Rowland is never fake while she roars and swears at the thugs chasing her on the subway, moving like the wind down the sidewalks of New York in her silk suits, handling her gun like an uncompromising pro. "˜"˜I don't want to be a victim! Victim, that's passe; I've played a victim. I don't want to be a victimized, you know, a victimized person again"¦This is a victimized person, isn't it?'Â he assures her -"˜' No, it's not a victimized person. A very strong person. You're not a victim; you're an "˜anti-victim." "Good, don't get it in your mind that I'm a victim!'" (Rowlands from a conversation with husband John Cassavetes).
Cassel and Rowlands in Minnie and Moskowitz in 1971.
Gloria for Gena Rowlands is where she gives flight her roles rooted in vulnerability and deep psychological storms. In the film, she attains ascendency puts a gun to the head of the personal victimization, and defies some of her older collaborative roles with Cassavetes interpreted by instability and downward spirals. She wouldn't allow herself to be trapped by stereotypes of "˜eccentric, middle-aged women.' which was a role that established her on-screen persona in the 1970s.
"Love is a stream. It is continuous. It doesn't stop."
In 1984's Love Streams, directed by John Cassavetes, Gena Rowlands portrays Sarah Lawson, a character whose life has been unexpectedly upended when she finds herself in the midst of a divorce from her husband Jack, portrayed by Seymour Cassel.
Adding to her pain, her young daughter Debbie (Risa Martha Blewitt) chooses to live with her father instead. At a time when she questions whether she is worthy of love, experiencing an emotional breakdown she reaches out to her brother Robert (Cassavetes).
Rowlands objected to Cassavete's script, finding herself once again playing a "˜victimized person', but he assured her that Sarah was truly strong.
Sarah's divergence from the past "˜madwoman archetype' is in her resilience from her earlier roles in the 70s "“ as Mabel in A Woman Under the Influence whereas her therapist in Love Streams has a similar commentary that her love is "too strong for her family,''
Unlike Minnie, who is stripped down by Cassel in Minnie and Moskowitz in 1971, and Myrtle Gordon, whose mind becomes fractured during the New York premiere of her play in Opening Night, Sarah comes to a reckoning about how love flows and can be reached. And no one but Rowlands could compel heartache to emerge out of a smile.
Source Andrew Key
Source Chris Wiegand The Guardian
Source: RogerEbert.Com