Gena Rowlands Could Knock You Out

As a film enthusiast who’s spent countless hours immersed in the silver screen, I can confidently say that Gena Rowlands is one of the most captivating and underrated actresses to have graced our screens. Her work with her husband, John Cassavetes, has left an indelible mark on cinema, particularly in their exploration of heterosexual dynamics and marriage.

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As a longtime admirer of cinema and its remarkable talents, I find myself deeply saddened by the recent passing of Gena Rowlands at the age of 94. Throughout my years spent immersed in the world of film, I have had the privilege of witnessing some truly exceptional performances, but none quite like those delivered by Ms. Rowlands. Her ability to seamlessly transition from combativeness to terrifying vulnerability within a single scene was nothing short of mesmerizing.

Regarding Rowlands, known for her challenging roles, she spoke about her work as a source of great satisfaction. A true admirer of acting, she was deeply passionate about it. Intrigued by this ardor, I sought the perspective of someone equally enthusiastic – critic Angelica Jade Bastién. Upon asking if she was a fan of Rowlands, she responded, “A fan? For me, she’s one of the greatest actors to grace the screen, standing alongside Bette Davis.” She then shared her reasons for this high regard.

Could we discuss your initial encounter with Gena Rowlands’ performances? I vividly recall my first time witnessing her talent, which was during Jim Jarmusch’s film “Night on Earth” from 1991 while I was still in high school. In one of the segments, Winona Ryder portrayed a cab driver, and Gena Rowlands played her passenger. Her effortless presence left an impression on me, for she carried herself as a performer with such authenticity and restraint, never demanding attention or dominating the space around her.

If someone is interested in learning more about her, I’d recommend watching two movies that offer unique insights into her talent. One of these films is “Opening Night” (1977), a movie she made with her partner, John Cassavetes. In this film, she portrays an actress on stage, and her performance goes beyond the usual self-absorption often seen in roles played by actors. Instead, she engages in a meaningful dialogue with fellow performers, the scene, and even the audience itself, showing remarkable skill in navigating complex emotions.

Another version of the description: The film in question is a TV movie from 1979, which only a handful of individuals, including myself, have watched. It’s titled “Strangers: The Story of a Mother and a Daughter.” In this production, Sarah Miles portrayed the daughter, while Bette Davis took on the role of the mother. Quite remarkably, I stumbled upon it on YouTube, which was a significant find for me given my admiration for both actresses. Interestingly, Bette Davis received an Emmy for her performance in this movie. The story revolves around their efforts to mend their strained relationship that has lasted for approximately two decades. One of them has been diagnosed with cancer, and this diagnosis serves as a catalyst for their reconnection. I have a soft spot for intense, complex mother-daughter relationships, and I believe more such narratives should be told.

It’s commonly believed that Meryl Streep is the likely successor to Bette Davis, a notion even expressed by Bette herself. However, my personal opinion has differed since I watched “Strangers”. Upon observing these two actresses interact, I came to believe that Gena Rowlands is a truer heir to Bette’s legacy. This is because Gena tackled the portrayal of female madness, encompassing both anger and mental illness, in a way that resonated with Bette’s interests. Moreover, “Strangers” seems to symbolize a passing of the torch from one powerful actress to another.

In her acting prowess, Rowlands excelled at seamlessly transitioning between various tones and styles. In the film ‘Opening Night’, for instance, she delivers her initial lines in a hushed whisper through clenched teeth holding a cigarette. Moments later, she’s on stage performing. This actress showcased a wide range of female characters – from those who were awkward and self-absorbed to those who were hurt and genuinely human.

As a cinephile, I can’t help but be captivated by scenes like the one in “Opening Night” where her partner, portrayed by Cassavetes himself, confronts her with such raw intensity: “I no longer see you as a woman, but as a professional…You don’t care about anything.” It’s a provocative moment that underscores the unique challenges women face in ascending to the pinnacle of their craft.

In a different wording, the original version of “A Woman Under the Influence” from 1974 was initially scripted as a play for actress Gena Rowlands to perform, but she declined, expressing her inability to endure such intense nightly performances. Instead, it was turned into a film. Despite this, Rowlands continued to work extensively beyond her collaborations with director John Cassavetes. This dedication is rare nowadays among actors of her stature. For instance, consider the numerous television roles she took on from the 1950s until 2010. One memorable role of hers was in “Columbo”. Rowlands could be considered a working-class actor, as she truly worked tirelessly, unlike many modern big-name actors who seem spoiled to me, earning millions but only appearing in one or two movies a year at most. This contrasts sharply with the actors who preceded them, who were arguably more skilled and worked themselves to exhaustion, often taking on multiple projects each year and passing away without much wealth. This might have led them to approach their work differently, focusing more on their responsibilities rather than building their brand or chasing glamour.

In considering the projects Cate Blanchett might take on, it’s unlikely they’d be just any run-of-the-mill productions. She’s more like Gena, who chooses roles that pique her interest, such as revisiting a 2002 TV movie called “Hysterical Blindness” directed by Mira Nair, or watching “Gloria,” a film by Cassavetes, since I haven’t seen them yet. Even in mediocre films, Gena Rowlands always delivers an exceptional performance. The constant discussion about “The Notebook” is downright insulting to her talent. To put it bluntly, Gena Rowlands is not just among the greatest actors ever; she’s probably one of the top five. Her performances reveal the intricacies, vulnerabilities, harshness, beauty, and complications of being a woman, being alive, and yearning to create art and be an individual. Compared to Brando, she outshines him effortlessly.

2024-08-16 22:55

Gena Rowlands Could Knock You Out

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