{"id":5342,"date":"2024-11-21T15:13:45","date_gmt":"2024-11-21T14:13:45","guid":{"rendered":"https:\/\/www.rivistaeco.com\/?p=5342"},"modified":"2024-11-21T15:13:45","modified_gmt":"2024-11-21T14:13:45","slug":"gena-rowlands-a-master-of-gesture-and-emotion","status":"publish","type":"post","link":"https:\/\/www.rivistaeco.com\/en\/2024\/11\/21\/gena-rowlands-a-master-of-gesture-and-emotion\/","title":{"rendered":"Gena Rowlands: A Master of Gesture and Emotion"},"content":{"rendered":"

Gena Rowlands, who passed away in August, was one of the greatest actresses of the second half of the twentieth century. Fearlessly exploring the extreme boundaries of human relationships and emotions, she brought a burning psychological intensity and sharp unpredictability to her portrayals of complicated, tormented, and fully alive women<\/span><\/i><\/p>\n

Virginia Cathryn, known as “Gena” Rowlands, passed away on August 14 at the age of 94 in her home in Indian Wells, California. With her passing, the last member of a close-knit group of friends\u2014John Cassavetes, Peter Falk, Ben Gazzara, and Seymour Cassel, all born between 1927 and 1935\u2014has left us. Together, they made an indelible mark on the history of cinema, bridging the gap between classic American cinema, which was in decline in the 1960s, and New American Cinema (Jonas Mekas, Stan Brakhage, Andy Warhol), as well as New Hollywood (George Lucas, John Milius, Francis Coppola, Brian De Palma, Martin Scorsese, Steven Spielberg). Courageously, they self-financed independent films, using funds from their work in television series and classic Hollywood productions, leveraging the visibility that this work provided. Free from the constraints of the studio system, they dismantled genre cinema, along with its stereotypes and illusions.<\/span><\/p>\n

 <\/p>\n

An Ideal Interpreter for New Cinema<\/b><\/p>\n

 <\/p>\n

“Lady, it\u2019s a privilege. I have so much admiration for you. It was wonderful! Wonderful! Wonderful!” declares an emotional Dorothy Victor (played by Zohra Lampert) to Myrtle Gordon (played by Gena Rowlands) in the final scene of <\/span>Opening Night<\/span><\/i> (1977), as the actors’ voices fade into the music accompanying the closing credits. It truly feels as if Lampert is speaking on behalf of all of us (privileged) viewers, expressing our enthusiasm and emotion at witnessing the extraordinary performance delivered by Gena Rowlands\u2014a performance that earned her the Silver Bear for Best Actress at the 1978 Berlin Film Festival\u2014in the role of a stage actress grappling with the challenges of embodying a character that forces her to confront the reality of losing her youth.<\/span><\/p>\n

Born in Madison, Wisconsin in 1930, Gena Rowlands had been suffering from Alzheimer’s for some time and had retired from acting about a decade ago. During a film career that spanned over forty films between 1958 (the year of her debut in <\/span>The High Cost of Loving<\/span><\/i>; she had debuted on Broadway a few years earlier in <\/span>The Seven Year Itch<\/span><\/i>, followed by her success in 1956\u2019s <\/span>Middle of the Night<\/span><\/i> alongside Edward G. Robinson) and 2014, Rowlands worked with directors such as Woody Allen, William Friedkin, Alfred Hitchcock, Jim Jarmusch, Giuliano Montaldo, Mira Nair, and Paul Schrader. However, her fame remains inextricably linked to the seven films she made under the direction of John Cassavetes, whom she met in New York in 1953 (while both were attending the American Academy of Dramatic Arts) and married in 1954.<\/span><\/p>\n

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The Rowlands-Cassavetes Artistic Partnership<\/b><\/p>\n

 <\/p>\n

The artistic partnership between Rowlands and Cassavetes, which lasted until the director’s premature death in 1989, remains one of the most fruitful collaborations in twentieth-century cinema. Together, they created masterpieces such as <\/span>Opening Night<\/span><\/i> (1977), <\/span>Gloria<\/span><\/i> (1980), <\/span>Love Streams<\/span><\/i> (1984), and the so-called “marriage trilogy,” comprising <\/span>Faces<\/span><\/i> (1968), <\/span>Minnie and Moskowitz<\/span><\/i> (1971), and <\/span>A Woman Under the Influence<\/span><\/i> (1974), which established Rowlands as one of the most important artists in modern cinema.<\/span><\/p>\n

In <\/span>Minnie and Moskowitz<\/span><\/i>, there’s a moment when Minnie, the character played by Rowlands, laments, “Movies are a conspiracy; they set you up to believe in everything: ideals, strength, good guys, romance, death, and of course, love.” Almost as a response to Minnie\u2019s complaint, Cassavetes’ cinema aimed to offer portraits of authentic characters, captured in their individuality and often in their interpersonal relationships, far removed from the prevailing stereotypes (including gender stereotypes) in American cinema of the time. Whether it was de-romanticising the couple’s relationship (as seen in the vivisection of the couple’s relationship in the “marriage trilogy”), delving into the psychic turmoil of an aging actress in a profession that values youth and beauty (as in <\/span>Opening Night<\/span><\/i>), or overturning the gender clich\u00e9s typical of film noir (as in <\/span>Gloria<\/span><\/i>), Rowlands was the primary instrument through which this break with old cinema, particularly in the representation of women, was achieved.<\/span><\/p>\n

It is truly difficult to overstate Rowlands’ importance to Cassavetes’ cinema, and at the same time, the importance of the director in crafting characters and favouring directing styles that highlighted Rowlands’ acting abilities.<\/span><\/p>\n

The characters in Cassavetes’ films were unconventional, imperfect beings torn by conflicts (often wrenching ones) and in the arduous search for an identity. The director\u2019s focus was less on plot than on bringing out their emotional authenticity. The scripts written directly by Cassavetes did not represent rigid structures that constrained the actors; instead, they were encouraged to explore spaces of freedom during rehearsals or filming, improvising attitudes or altering lines when they felt it allowed them to better express the truth of the character. Cassavetes often used long takes and close-ups to capture the subtle nuances of his actors’ performances, free from the constraints of rapid cuts.<\/span><\/p>\n

Complex and often (very) tormented characters, opportunities for controlled improvisation, and frequent use of long takes and close-ups\u2014all these factors allowed Rowlands’ artistic talent to shine. For Cassavetes, Gena often masterfully embodied the deep discomfort and psychic suffering of women who were simultaneously driven by the desire and the inability to shape their identity in accordance with societal roles and the expectations of those around them\u2014including the opposite expectation, which seems simplest but is impossible to achieve: to “be oneself” (the exhortation “just be yourself” is repeatedly directed at the characters played by Rowlands).<\/span><\/p>\n

She portrayed women sometimes on the verge of an abyss (Mabel Longhetti in <\/span>A Woman Under the Influence<\/span><\/i>, Myrtle Gordon in <\/span>Opening Night<\/span><\/i>), often incapable or unwilling to restrain the outward expression of their emotions\u2014always intense, their fates unresolved; strong women yet vulnerable (and even a noir heroine in <\/span>Gloria<\/span><\/i>, where Rowlands plays an independent woman, a wild card in a man’s world, who, against her will, is forced to protect a child not her own, ready to pull out a gun and face the gangsters pursuing her with fierce determination). If Cassavetes’ conception of plot as character-driven and the freedom he granted his actors could frustrate some, for an actress like Rowlands, it was a blessing, allowing her to blur the line between actor and character to the point of no return.<\/span><\/p>\n

And it was especially in gesture and vocal expressiveness that the opportunities for controlled improvisation offered Rowlands a broad canvas to showcase her extraordinary talent. Few actresses (Anna Magnani comes to mind as another example) have possessed such mastery of their gestures (syncopated, abrupt, slow, expansive, measured) and facial expressions, with the endless repertoire she could draw upon to render the inner lives of her characters\u2014balanced between strength and despair\u2014in a way that was irresistibly and often painfully compelling. Her mastery of gesture and vocal versatility even enabled her to authentically portray a hard-boiled, larger-than-life character like Gloria, which is usually associated in the collective imagination with male actors such as Humphrey Bogart and James Cagney.<\/span><\/p>\n

 <\/p>\n

Cassavetes’ Muse, But Not Only<\/b><\/p>\n

 <\/p>\n

Ben Gazzara once said, \u201cGena was John\u2019s muse; she was his love object, his female figure, his actress, and I always felt, quite frankly, that no other director knew what to do with Gena.\u201d Indeed, she was Cassavetes’ muse, but it would be limiting to consider Rowlands only in this role. In Cassavetes’ films, she was framed in a very specific way, placed in an atmosphere that was a powerful blend of structure and spontaneity, designed to highlight her intensity and unpredictability, her ability to explore the dark sides of human experience and bring emotionally volatile characters to life. However, Rowlands\u2019 talent was not limited to this.<\/span><\/p>\n

Under the direction of other filmmakers, her artistic versatility touched different registers. A paradigmatic example is her role in <\/span>Another Woman<\/span><\/i> by Woody Allen. In this film, Rowlands puts aside the neuroses of her most famous characters to embody Marion Post, a university philosophy professor in her fifties\u2014an intelligent, efficient woman, socially competent, who appears satisfied and self-assured. Having rented an apartment to work quietly on her new book, she inadvertently overhears the psychoanalytic sessions of a young woman in the adjacent office. What she hears triggers a crisis of self-awareness that leads Marion to reconsider her life and choices. She discovers that she is different from what she had thought, that she knows little about her emotions, little about her husband, and little about why she married him instead of another man who genuinely loved her. She realises that the image she projects onto others is less flattering than she believed, and that her “efficiency” is perceived by others as a “wall” that prevents deep personal relationships.<\/span><\/p>\n

There are no emotional outbursts or swings here: Marion’s crisis is a quiet one, an inner journey without upheavals, a slow realisation tinged with autumnal regret (somewhat similar to the crisis experienced by the character of Professor Isak Borg in Ingmar Bergman\u2019s <\/span>Wild Strawberries<\/span><\/i>). In perfect harmony with the introspective nature of the film and Allen\u2019s more controlled and structured narrative and stylistic approach compared to Cassavetes, the slow and gradual disintegration of Marion’s self-image is rendered by Rowlands with a performance that could be described as \u00e0 la Ullmann\u2014calm and reflective, where emotional intensity is internalised rather than outwardly expressed.<\/span><\/p>\n

There\u2019s a (heartbreaking) moment in <\/span>A Woman Under the Influence<\/span><\/i> where Mabel Longhetti (played by Gena Rowlands) says to her husband: \u201cTell me what you want me to\u2014how you want me to be; I can be that. I can be anything.\u201d Taken out of context, these words could very well describe the multifaceted talent of this extraordinary actress.<\/span><\/p>\n

 <\/p>\n

Bio<\/span><\/p>\n


\n<\/span>Luca Micheletto is a professor of political economy at the University of Milan.<\/span><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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