Reflecting upon the life of Gena Rowlands, a true powerhouse of talent and resilience, I am left in awe of her remarkable journey. From gracing the silver screen alongside legends like Rock Hudson and Frank Sinatra to her unforgettable roles on television, her career was nothing short of exceptional. Yet it was her partnership with John Cassavetes that truly defined her as an artist – a collaboration that allowed them to live their dreams and create works that resonated deeply with audiences.
Actress Gena Rowlands, who was the wife and artistic partner of John Cassavetes, passed away on Wednesday at the age of 94. Known for her raw and powerful performances in films such as ‘Faces’, ‘A Woman Under the Influence’, ‘Opening Night’ and ‘Gloria’, she has earned a place among the greats in the acting world.
Gwyneth Paltrow’s mother, Blythe Danner, passed away at their home in Indian Wells, California, as reported by TMZ. A representative from WME, where her son Nick Cassavetes, a writer-director, is represented, confirmed the news. Since 2019, she had been bravely fighting Alzheimer’s disease.
Rowlands was nominated for Oscars for her acting roles in “A Woman Under the Influence” (1974) and “Gloria” (1980). In the former, she portrayed a secluded, emotionally fragile housewife who succumbed to madness. In the latter, she shone as an angry child protector who spoke out against the Mafia.
She didn’t win the Academy Awards during the years when Ellen Burstyn was nominated for “Alice Doesn’t Live Here Anymore” and Sissy Spacek for “Coal Miner’s Daughter”. However, her exceptional talent wasn’t ignored by the Academy entirely, as she was honored with an honorary Oscar at the 2015 Governors Awards.
“Rowlands remarked at the event, ‘One beautiful aspect of being an actress is that you don’t just experience one life – your own – but multiple lives.'”
John Cassavetes, his wife being the star, directed films such as “A Woman Under the Influence”, “Gloria”, “Shadows” from 1959, “A Child Is Waiting” of 1963, “Faces” of 1968, “Minnie and Moskowitz” of 1971, “Opening Night” of 1977, and “Love Streams” of 1984. Apart from one, he penned the scripts for all these dramas. Their collaborative work significantly ignited the independent film movement in the United States.
In 2015, she shared with THR’s Scott Feinberg that her spouse had a deep affection for actresses and a specific fascination towards the female gender. She added, “In movies, I should clarify!” Rowlands explained. “He was intrigued by women’s struggles and their roles in society, as well as the obstacles they face. He presented me with some truly captivating roles.”
In the movies “Unhook the Stars” (1996) and “The Notebook” (2004), Rowlands portrayed a solitary widow and an elderly woman suffering from dementia respectively, under the direction of Nick Cassavetes. She also made an appearance in his film “She’s So Lovely” (1997), which was scripted by John Cassavetes, another director in the family.
Her daughters, Zoe Cassavetes and Xan Cassavetes, are writer/directors as well.
At her peak, Rowlands excelled in playing troubled heroines. She frequently toned down her all-American Midwestern charm, transforming her attractive features when the role demanded it – for example, in Opening Night, where she played the aging and anxious stage actress Myrtle Gordon who was struggling with insecurity.
In the world of cinema, playing Mabel Longhetti in “Woman Under the Influence” remains one of my most memorable roles. My character’s husband, a construction worker portrayed by Peter Falk, commit me to an institution – quite the dramatic twist!
During an interview with the Los Angeles Times in 2015, Rowlands stated that she didn’t get any preferential treatment just because she was married to the director. For instance, when she posed a question to John while filming their first scene for Woman Under the Influence, she did so as an equal, not due to her marital status.
She mentioned that she seldom queries things, instead stating, “I find myself a bit stumped.” To this, he replied, “Gena, prior to proceeding any further, let me clarify that the image I depicted was specifically with you in mind. You’ve expressed admiration for it.” She responded by expressing her love for it. He then said, “You’ve shared your desire to engage with it.” To which she agreed, saying, “I do.” And he concluded, “Then go ahead and execute it.”
Rowlands shared that the raw, unsolicited guidance felt incredibly liberating and enchanting. It meant not relying on anyone’s opinions or advice, but having the freedom to make decisions based on one’s own understanding. It seemed as if someone had bestowed upon you a priceless gift.
In the movie “Gloria“, Rowlands showcased remarkable determination as Gloria Swenson, a past lover of a mobster who flees to shield her neighbor’s young boy (John Adames). This film was filled with excitement, but she described it as a “humorous gangster tale.”
In Ray Carney’s 2001 book “Cassavetes on Cassavetes”, the director himself explains that he agreed to make the film because Rowlands desired to portray a character that mirrored how she occasionally perceived herself – the self-reliant, seductive yet tough woman who doesn’t necessarily rely on men, much like one of her role models, Marlene Dietrich.
“Cassavetes stated that she carefully establishes the starting point and adheres faithfully to the script. She seldom breaks from the script for spontaneous performance, though she often deviates in her mental deliberations. Meanwhile, everyone else seems to be acting impulsively, but Gena is remarkably dedicated and sincere.”
“She’s unfazed by cinematic aspects, camera positions, or her own appearance; what matters most to her is making you believe her authenticity. She seemed to grasp the beat of a life foreign to her own experience. When it comes time for her to act ruthlessly, I’m consistently struck by her chilling efficiency.”
In a heartfelt tribute, Tennessee Williams once likened Rowlands to a masterpiece that one stands before, much like paintings in a museum, sunsets, mountains, or lovers strolling away, leaving an impression.
Virginia Cathryn Rowlands was born on the 19th of June, 1930, in Madison, Wisconsin. Her father held positions as both a banker and state senator, while her mother initially had an opportunity to join the Ziegfeld Follies but opted for a career in art instead.
Initially, Rowlands enrolled at the University of Wisconsin, but later opted to pursue acting at the American Academy of Dramatic Arts in New York City. It was within this institution that she crossed paths with Cassavetes, a fellow student who had graduated a year prior and took notice of Rowlands’ performance in a student production of J.B. Priestley’s play “Dangerous Corner.”
Four months following their initial encounter, they tied the knot in 1954, and remained a couple until Cassavetes passed away from cirrhosis in February 1989 at the age of 59.
In her initial professional theater debut, Rowlands graced the stage at Provincetown Playhouse. Additionally, she delved into live television performances and was selected by producer-director Joshua Logan in 1956 to portray a young lady who develops feelings for an older man (Edward G. Robinson) in Paddy Chayefsky’s play titled “Middle of the Night“.
Following 18 months in the play, Rowlands secured a contract with MGM and made her first movie appearance as Jose Ferrer’s self-assured spouse in the drama “The High Cost of Loving” (1958). Subsequently, she acted in the Dalton Trumbo Western “Lonely Are the Brave” (1962), alongside Kirk Douglas, in “The Spiral Road” (1962) with Rock Hudson, and in “Tony Rome” (1967) opposite Frank Sinatra.
In the 1960s, television shows featured Rowlands as the speechless spouse of a detective in the NBC show “87th Precinct” and as the alluring Adrienne Van Leyden on ABC’s “Peyton Place”.
Instead of creating their own films, she and Cassavetes primarily worked on movies belonging to others such as “Machine Gun McCain” (1969), “Two-Minute Warning” (1976) and Paul Mazursky’s “Tempest” (1982), where they both acted, to finance their own productions.
“She expressed that she desired a specific lifestyle, one where she could wake up and pursue her desires for the day without conforming to what others expected. She didn’t want to follow the path dictated by everyone else, as they constantly advised she was making mistakes. However, she found great fulfillment in her choices.”
As a fan, I can’t help but think about the little ones as well. Each time they ventured out from their cozy rooms, they seemed to be navigating a minefield of cables or bumping into cameras. Remarkably, they handled it all with such grace and ease. It wasn’t some mysterious, distant thing like when parents went off to a studio; they never felt excluded from this shared experience.
In the game of life, I’ve stepped into the shoes of a nurturing professional escort in “Faces”, and let my laughter echo in a delightful screwball comedy titled “Love Streams”.
In addition to being nominated eight times, Rowlands received three Emmy Awards. One of these was for her portrayal of the first lady in ‘The Betty Ford Story’ in 1987, and another came from her performance as a diner waitress who has a romantic encounter with frequent Cassavetes collaborator Ben Gazzara in ‘Hysterical Blindness’ in 2002.
1. In the 1979 TV movie titled “Strangers: The Tale of a Mother and Daughter,” she acted alongside Bette Davis, while in a 1983 Hallmark production called “Thursday’s Child,” she starred opposite Jane Alexander, portraying a lesbian couple who were raising three children together.
In 1987, Rowlands portrayed the mother of Michael J. Fox and Joan Jett in the movie “Light of Day”. The following year, she featured as a philosophy professor in Woody Allen’s film “Another Woman”. In 1991 and 1995, she worked with Lasse Hallström in the films “Once Around” and “Something to Talk About”, respectively. Additionally, she starred alongside her daughter Zoe in the movie “Broken English” in 2007.
She has made notable film appearances more recently, including Jim Jarmusch’s “Night on Earth” (1991), her first project following Cassavetes’ passing. This was followed by “Silent Cries” (1993), “Hope Floats” (1998), “The Weekend” (1999), “The Skeleton Key” (2005) and “Six Dance Lessons in Six Weeks” (2014).
Survivors also include her second husband, retired businessman Bob Forrest.
Director Sidney Lumet once said of Rowlands:
“The greatest praise I can give her, or anyone, is that their skill leaves me in awe, highlighting the scarcity of it among many and the influence wielded by those who harness it effectively. Moreover, their talent enlightens and informs. She is truly remarkable, a quality that few possess.”
Duane Byrge contributed to this report.
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2024-08-15 04:26