10 Essential Gena Rowlands Performances

As a cinephile and admirer of the art form, I find myself consistently astounded by the depth and versatility of Faye Dunaway’s acting prowess. Her ability to embody such diverse characters with an uncanny authenticity is truly remarkable, and her life experiences only serve to deepen the layers of complexity in her performances.

In a 1982 interview, Tennessee Williams stated that it’s important to observe, share experiences, and honor those who share their souls with us. He promised to create a list for the brave few who have done so, and he named Gena Rowlands as the first on this special list.

Many people would recall Gena Rowlands from her significant role in the 2004 film “The Notebook”, where she portrayed an older woman dealing with dementia. Film enthusiasts, however, would likely recognize her as a prominent figure from the ’70s New Hollywood era. During this time, she collaborated extensively with her husband, John Cassavetes, to establish the independent film movement in America and produce some of the most intense and raw films in western cinema. Titles such as “Opening Night”, “Faces”, and “A Woman Under the Influence” exemplify her innovative acting style that combined elements of exaggerated realism and vaudeville, showcasing a depth of emotion that seemed unique to her.

Throughout her multi-decade career, which ended in 2015, Rowlands chose not to hide her inner struggles – the fear, uncertainty, and ambiguity that we often strive to keep hidden from view. Unlike many others, she was uninterested in easy answers or fabricated narratives. Instead, she saw acting as a means to delve into the complexities of heterosexual relationships and the challenges of coexisting with individuals who are shaped by their own neuroses, personal beliefs, and unique perspectives.

She had a deep passion for films, particularly appreciating the raw elegance of Bette Davis, which might not be immediately apparent when watching her act. In contrast to typical movie acting, Rowlands’ performances across her filmography appeared more natural, as if they were real-life behaviors. This authenticity often led viewers to believe her acts were improvised, yet she was meticulous in her approach. As a keen reader, she often shaped her roles based on script analysis, demonstrating complete mastery and authorship over her characters.

Reflecting on her later acting journey, following the loss of my beloved husband, I took on a variety of supporting roles in soap operas and even graced an episode or two of NCIS. Yet, these seemingly insignificant parts could not dim the raw emotional intensity I brought to them, a trait that was equally evident in my collaborations with Cassavetes. And let’s not forget the profound impact I made in The Notebook.

In a recent interview with Entertainment Weekly, Nick Cassavetes, who is Rowland’s son and director of The Notebook, disclosed that much like her character in the movie, Rowlands herself has been dealing with dementia: “We experienced it, she portrayed it, and now we are living with its consequences.”

Now more than ever, it’s important to acknowledge, share praise for, and show reverence towards Rowlands. Every spine-tingling action, unique move, every fiber of her being that she poured into each performance – her spirit shines through. Here are ten pivotal roles from Rowlands that showcase some of the best, most impactful acting you might ever witness.

Lonely Are the Brave (1962)

In David Miller’s film “Lonely Are the Brave,” Rowlands has a limited appearance yet significantly contributes to the shifting genre dynamics by infusing the traditional western with an existential tone. Her brief role as Kirk Douglas’ friend’s wife serves as a poignant symbol of a genre evolving, as her raw emotions in a formerly stereotypical genre were striking. Sharing screen time with Douglas and Michael Kane, who portrays her husband, Rowlands subtly expresses her suppressed feelings through her expressive face. She embodies the struggle of an abandoned woman, harboring anger towards the man who leaves her behind while also feeling a soft-hearted compassion for those who must depart. In a particularly intense scene, she bluntly tells Kane, “If it weren’t for men to make babies, I wouldn’t have anything to do with any of you.”

“I had never seen anyone so beautiful, carrying such a heavy presence.”

Faces (1968)

In their initial joint venture, the groundbreaking indie film “Faces” by Rowlands and Cassavetes, showcases themes that became synonymous with their collaborative work: love, marriage, alcohol, and the intricate dynamics between men and women. Although her role is minor, Jeannie Rapp, portrayed by Rowlands, leaves an indelible impression on the movie. Cassavetes’s unsteady camera, capturing each scene with a sense of unease, consistently homes in on Rowlands’s face. The raw 16-mm footage reveals a bold and heartbreaking intensity in her eyes. Can you endure staring at them as she confesses she’s “too old to be lovely,” a solitary tear glistening on her lashes, before it feels necessary to look away? Rowlands’s performance in “Faces” is a test of willpower to gaze into someone’s soul without blinking. It underscores her ability to command a film with her facial expressions alone — and what a captivating face she possesses.

Minnie and Moskowitz (1971)

In the annals of cinema, there’s no one who has worn sunglasses as elegantly as Rowlands does in Cassavetes’ unconventional romantic comedy, “Minnie and Moskowitz.” Despite all the men in the film mistreating Minnie (including Moskowitz, played by Seymour Cassel), she maintains a poised demeanor under immense stress. Her sunglasses, notably octagonal Linda Farrows, become her silent yet expressive companions, reflecting her resilience until her composure eventually cracks.

In this storyline, Rowlands portrays a curator at the Los Angeles County Museum of Art who indulges in watching romantic movies and drinking wine late at night. However, her dreams of love, fueled by these films, are harshly disillusioned during the day. She bluntly states, “Movies are a trick.” The narrative takes an unpredictable twist when Moskowitz enters the scene.

In collaboration, Rowlands and Cassel offer an exceptionally intense and overwhelming act that you might rarely encounter. The film Minnie and Moskowitz is a boisterous dance of raw emotions, played out between two lovers who bring out each other’s wildest sides. Moskowitz manages to shatter Minnie’s composure, thereby allowing Rowlands the opportunity to excel at what she does best – unravelling in a stunningly dramatic and unsettling fashion.

A Woman Under the Influence (1974)

https://youtube.com/watch?v=watch?v=_EYOrxL3uaw

In a standout role, Gena Rowlands portrays Mabel Longhetti in the groundbreaking film “A Woman Under the Influence“, one of John Cassavetes’s masterpieces and arguably among the most powerful portrayals of heterosexual discord ever filmed. Every raw note in her voice, every piercing tone, every quirky movement is a testament to her exceptional acting abilities. Her performance is both dramatically intense and disconcertingly realistic, making viewers feel genuinely concerned for Rowlands. It’s hard to imagine that her performance isn’t improvised, but it’s actually carefully crafted, meticulously rehearsed, and she skillfully manages such an unpredictable character.

In this television show, Rowlands portrays a lower-middle-class mother of three who is constantly navigating a tumultuous daily life filled with crises. Her identity and self-perception are unstable, and she yearns to express her deep affection for her family but often fails to connect using words they can understand. She exists in a perpetual state of emotional outbursts, behaving erratically with an impulsive flair, yelling, dancing, and making facial expressions reminiscent of a child reluctantly eating vegetables. This behavior frequently causes discomfort for her working-class husband.

Following Mabel’s hospitalization at a psychiatric institution, the movie shifts from its comedic vibe to an intensely chilling atmosphere, akin to a genuine horror spectacle. The arguments between Rowlands and Falk are so authentic they seem to be unfolding within your own four walls. Viewing it is like bearing witness to an appalling yet captivating event.

Opening Night (1977)

In their seventh collaborative film titled “Opening Night“, Rowlands and Cassavetes challenge the boundaries between fact and fiction while critiquing the degrading treatment of actresses, particularly women. Myrtle Gordon, portrayed by Rowlands, is a veteran actress grappling with her latest Broadway role – a middle-aged woman unwilling to accept the passage of time. Throughout the film, Myrtle defies her director and co-stars’ assumptions and predictions about her character, including Cassavetes who plays her husband, Maurice. Instead, she carves out a chaotic, intoxicated, and erratic path. When informed that her character will be slapped onstage, Myrtle becomes unhinged, leaving the set and arriving drunk at the play’s opening night. Here, Rowlands showcases her unique talents, making every movement erratic and twitchy. She masterfully combines broad comedy with raw realism, transforming farce into a deeply unsettling and intense portrayal.

Gloria (1980)

In Cassavetes’s least unique and more traditional film, Rowlands departs from her usual intimate approach. She portrays the title role, a middle-aged, childless woman, who rescues a 6-year-old boy (John Adames) from ruthless mobsters who had murdered his family. For the remainder of the movie, she is on the run from them.

I, being a screenplay that Cassavetes sold to Universal to finance his avant-garde films, initially found him unwilling to direct. However, when Rowlands was cast as the film’s leading lady, she urged him to reconsider. Eventually, he agreed, understanding it was a gesture of goodwill towards his wife – the woman who had always admired Bette Davis’ audacity and independence – who had been waiting for a role that would showcase her gritty, tough-as-nails persona.

In this film, Gloria showcases Gena Rowlands with an exterior persona that is more prominent compared to her usual roles in Cassavetes films, where she is typically introspective. Unlike smaller, character-driven projects, this movie is packed with high-octane action – gunfights, breaking down doors, and roaming about. The focus on interiority is minimal and can be easily overlooked, appearing only fleetingly. However, the film provides an excellent platform to observe Rowlands’ physical acting skills, such as her hunched posture when dealing with mob bosses, her confident stride, and her exceptional gun-handling ability, even surpassing Dirty Harry.

Love Streams (1984)

Initially overlooked upon its subtle premiere, “Love Streams” had almost vanished into obscurity until the Criterion Collection revived it in 2014, making its debut on Blu-ray. This film is widely regarded as John Cassavetes’ most profound exploration of his love philosophy and one of the most intricate performances by Gena Rowlands. In this movie, they portray sibling roles in a performance that would prove to be their last collaborative effort. Stricken with cirrhosis of the liver, Cassavetes was informed he had only six months left to live prior to starting work on this film (a fact he kept secret from everyone at the time; he lived for an additional five years).

In this film, Rowlands portrays Sarah Lawson, a character who struggles with an excessive affection for others, failing to establish her own identity apart from her relationships. On the other hand, Cassavetes plays Robert Harmon, a solitary writer immersed in his own world. Sarah questions Robert about creativity, comparing love and cooking as art forms. Her movements are graceful, reminiscent of Tai Chi. In many of her roles directed by Cassavetes, Rowlands’ character goes to extreme lengths to assert her individuality. She partakes in eccentric activities such as solo bowling, adopting pets, visiting a joke shop, and attempting – unsuccessfully – to make her ex-family laugh with a clown nose, chattering teeth, and googly eyes. Love Streams, directed by Cassavetes, explores the question of what transpires when two people, desperately seeking love to the brink of madness, can offer each other. It delves into situations where communication falters completely. Similar to Cassavetes’ other works, Love Streams depicts love and alcohol as intertwined forces that can disrupt anyone who encounters them (much like Rowlands’ character).

Another Woman (1988)

Woody Allen’s less frequently discussed film, “Another Woman,” features Rowlands as Marion Post, a philosophy professor with a cool demeanor who experiences a crisis related to her sexual identity as she approaches her 50th birthday. She expresses confusion about her identity with a chilling detachment when she accidentally listens in on another woman’s (Mia Farrow) therapy session, questioning, “I don’t recognize myself anymore.”

In a departure from her typical roles, Mia Farrow (referred to as “Another Woman” in the original) delivers a subtle and nuanced performance in this film that might account for its limited audience appeal. This role finds Farrow sporting a mousey hairstyle rather than her usual glamorous blonde look, and her character, Marion, is markedly different from the wild and carefree women she portrayed under Cassavetes. In contrast to those characters, Marion is meticulous and particular, displaying very little overt emotion. However, every minute facial expression Farrow makes seems to reveal a multitude of emotions, making her acting feel incredibly detailed and impressive on a small scale. It’s a performance that requires a microscope to truly appreciate its brilliance.

Night on Earth (1991)

In my perspective, Jim Jarmusch’s “Night on Earth” was a groundbreaking film for me, especially since it was released after the demise of my spouse in 1989. In the Los Angeles segment, I had the privilege to star alongside Winona Ryder, portraying a strong-willed talent agent who shares a cab ride with an energetic tomboy character. During our journey to my hotel, we shared a cigarette, and her character was gritty and unsanitary, while mine was polished, composed, and aloof. This brief taxi ride offered a glimpse into two sides of Los Angeles – its underbelly and its glamour – as these contrasting aspects were forced to intermingle. Although Winona’s performance in this role could have been stronger, I found myself feeling sublime, managing to express a subtle undercurrent of dissatisfaction beneath my impeccable demeanor. An actress of lesser skill might have seemed matronly in this part, but I believe I brought an exceptional level of charm and sophistication to the role.

The Notebook (2004)

https://youtube.com/watch?v=watch?v=ielkiD8w-M8

Gwyneth Paltrow’s portrayal in the movie “The Notebook” as a woman dealing with Alzheimer’s disease has taken on a poignant and tragic resonance, given that her real-life mother and she herself have been battling the illness for five years. In an interview with Entertainment Weekly, director Nick Cassavetes, Gwyneth’s son, revealed this personal struggle. Initially hesitant to take on the role due to its emotional ties to her own experiences, Gwyneth admitted in 2004 that she might not have accepted the part if not for her close relationship with Nick. In any production directed by her loved ones, Gwyneth consistently delivered powerful performances. By this point, her son was more familiar with her acting than most, having grown up surrounded by film sets in their family home, where John Cassavetes filmed many of his later projects. Although “The Notebook,” an adaptation of Nicholas Sparks’s sentimental beach novel, may not be the trailblazing cinema typically associated with the late Cassavetes, Gwyneth brings a courageous intensity to her role as Allie Hamilton that mirrors her performances in her husband’s productions. Her raw expressions of frustration and pain in the romance scenes add an unsettling, almost terrifying edge that lingers long after viewing. What was once uncomfortable to watch is now deeply moving.

2024-07-31 21:54