As a cinephile who has spent countless hours immersed in the world of film, I can wholeheartedly say that few performances have left me as spellbound and moved as Gena Rowlands in “A Woman Under the Influence.” Her portrayal of Mabel is nothing short of extraordinary – a tour de force that transcends time and continues to stand as one of the greatest achievements by an actress in American cinema.
Throughout the annals of both American cinema and filmmaking worldwide, few collaborations between spouses have left as significant an impact as that between director John Cassavetes and his wife, actress Gena Rowlands.
Apart from producing numerous outstanding works collaboratively, such as “Faces”, “A Woman Under the Influence” and “Opening Night”, they also developed a significant collection of deeply intimate films. These movies were exclusively filmed outside the studio system, frequently within their own residence in the Hollywood Hills, thus paving the way for what we now recognize as the independent film movement.
It’s true that there were some unforgettable director-actress partnerships before them, many of which took place in Europe: Roberto Rossellini with Ingrid Bergman, Federico Fellini with Giulietta Masina, Jean-Luc Godard with Anna Karina, Michelangelo Antonioni with Monica Vitti. While these collaborations produced several works of art, it’s important to note that in these instances, the director was considered the main creative force and the actress served more as a source of inspiration, or a muse, rather than an active collaborator. However, this isn’t to say she lacked significance in their artistic ventures.
Back in the day, working alongside my husband on his films was a whole new ball game – something that, looking back decades later, feels like a game-changer now, especially after her passing at 94. Not just an actress, she was also a collaborator, both in front of and behind the camera. To Cassavetes, she was more than just inspiration; she was the driving force behind many of his masterpieces. These movies, penned and directed with me in mind, often mirrored our real-life journey during our 35 years as a married couple.
The boundary between life and art for her was always blurred, as one influenced the other significantly. Her films, with only a few exceptions like the lively and female-centric mob thriller, “Gloria”, tended to feel more like personal home videos than conventional movies. In each of these productions, Rowlands portrayed characters embroiled in complex, passionate relationships, characters who struggled to maintain a distinction between their private and professional lives, striving to be good partners and mothers while simultaneously yearning for freedom and honesty.
Similar to her husband, whom Rowland first encountered during their student days at New York’s American Academy of Dramatic Arts in the 50s, the actress initially found success in repertory theatre and the burgeoning field of television, appearing in shows like Top Secret and Goodyear Television Playhouse. Being blonde, stunningly attractive, and hailing from a notable Midwestern family, with her father, Edwin Rowlands, serving as a state senator before moving on to work for the Department of Agriculture in D.C., she had the potential to emulate the careers of Grace Kelly, Kim Novak, Doris Day, or any other actresses whose paths crossed with the final golden age of Hollywood’s classic studio system.
In fact, with leading roles opposite Kirk Douglas in “Lonely Are the Brave” and Rock Hudson in “The Spiral Road,” both released in 1962, Rowlands appeared to be on a promising career path. However, she chose a different route, joining forces with Cassavetes, who was already an established TV and film star at that time. Together, they embarked on his journey towards becoming a filmmaker while also raising their first child, Nick Cassavetes, born in 1959.
Following an unrecognized appearance in the movie “Shadows”, Rowlands made her credited screen debut for her spouse in his third film, “A Child Is Waiting”. This was released in 1963 and featured her alongside Judy Garland and Burt Lancaster. However, this production was a standard effort that Cassavetes distanced himself from upon its release. But five years later, in their groundbreaking work, “Faces”, both the director and actress truly found their footing.
Rather than following the conventional structure of a film, “Faces” presents a series of intense and authentic scenes that resemble high-drama snippets pulled directly from everyday existence. Cassavetes masterfully refined an approach he would continue in his subsequent works: crafting scenarios and characters inspired by personal experiences; intensely collaborating with a diverse cast (frequently incorporating non-actors); filming continuously to capture every nuance of each performance; and utilizing his own home as the primary location, due to budget constraints.
In “Faces,” I was captivated by Rowlands’ entrance, reminiscent of an old Hollywood starlet in a black-and-white chiaroscuro scene, or perhaps a subject of one Andy Warhol’s screen tests. As a man made a kissing sound off-camera, it felt like a profound tribute from the director to the actress, and more intimately, from husband to wife. That singular shot marked the beginning of a creative partnership that would last for six more movies over the next fifteen years.
In the movie “Faces,” Rowlands is not just a visually appealing character; she brings her role to life as a sophisticated L.A. call girl who fearlessly expresses herself, showcasing both her strengths and vulnerabilities, her playful and fierce sides. Despite being under the control of men who pay for her services, she maintains a level of authenticity that is seldom seen in American films, especially those made prior to that time, where prostitutes were typically portrayed one-dimensionally.
Prior to her husband’s passing in 1989, Gwen Verdon’s film roles were primarily confined to his movies. These films were often centered around her, whether she was portraying a comedic couple in “Minnie and Moskowitz,” a troubled Broadway actress haunted by a dead girl’s ghost in “Opening Night,” or the sister of an alcoholic writer spiraling out of control at the end of his life in Cassavetes’ final film, “Love Streams.” These roles showcased her versatility as an actress.
Furthermore, among their collaborative projects, “A Woman Under the Influence” stands out as the one most associated with Gena Rowlands. This film is where she made a lasting impression, and rightfully so. Interestingly, it was this movie that earned her her first Oscar nomination (although she didn’t win either of them). Eventually, in 2015, she was honored with an honorary Oscar.
In the film “Influence”, Rowlands’ acting performance is widely considered one of the most outstanding portrayals by an actress in an American movie since the 1950s, and no other actor has come close to matching it since. Interestingly, neither Rowlands nor Cassavetes were part of The Actors Studio; however, their acting was comparable to the intense, emotional performances delivered by Marlon Brando and James Dean at their peak.
Initially, the character of Mabel, wife to gruff construction worker Nick (portrayed by Peter Falk) and mother to three unruly children, was penned for the stage by Cassavetes. However, Joanne Rowlands expressed her concerns that performing this role night after night on stage could potentially be detrimental to her health or require institutionalization. As a result, the director decided to adapt the play into a full-length film instead.
It’s quite evident why Rowlands might have been concerned. From the initial encounter with Mabel, she appears distressed and restless, anxiously waiting for Nick to arrive so they could spend an uncommon evening without their children, who were staying with her mother (portrayed by the actress’ real-life mother, known on screen as Lady Rowlands). However, when Nick fails to appear, Mabel starts to fall apart, and she doesn’t regain her composure for the following two and a half hours. She fluctuates between being a devoted wife and mother and a woman who seems bewildered and uncertain about her place there.
One explanation for their turbulent relationship revolves around Mabel’s excessive drinking habit, while another reason stems from Nick’s abusive behavior towards her – he often raises his voice and physically hurts her when provoked by her actions or his jealousy. There is also speculation about Mabel potentially suffering from bipolar disorder, exhibiting extreme mood swings between periods of excessive happiness (manic mode) and complete immobility (catatonic depression). However, mental health conditions like these were not well-understood during that time. The film A Woman Under the Influence poses the question: can a family endure such hardships solely through their love for one another?
Rowland’s portrayal is multifaceted and comprehensive, as her character remains elusive, resisting simple categorization. Mabel embodies various aspects simultaneously, much like each one of us does. Her honesty is strikingly genuine, whether she’s interacting with her spouse, children, mother, or introspecting. This transparency can be heart-wrenching at times. Despite her aspirations to be an excellent mother and wife, the demands of these roles can be overwhelming, particularly when they seem degrading at certain moments.
Regardless of the production or director, Mabel always avoids being unkind or harsh, a trait that sets her apart from many roles played by Rowlands, as seen in films like the underestimated drama “Another Woman” directed by Woody Allen, and “The Notebook,” a blockbuster hit directed by her son Nick Cassavetes, which is believed to be one of her most memorable performances.
What deeply resonates with us about Rowlands, whether on-screen or off, is that she consistently gave the impression of striving for excellence yet not always achieving it. It’s this authenticity that lends a sense of vulnerability and authenticity to her characters, as they often find themselves falling short.
In his lifetime, Cassavetes often grappled with feelings of failure, as his films, more often than not, struggled financially and were challenging to produce. Despite this, he didn’t receive the acclaim, particularly in America, that he believed was warranted for his work. Yet, in his collection of notable movies, Rowlands portrayed women who embodied fear, anguish, but also the optimism and zest associated with creating meaningful art. Even when her characters fell short, like Mabel did, they did so in a way that was nothing short of spectacular.
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2024-08-16 02:55