A formidable presence in American cinema, known for her fierce, edgy, and often emotionally turbulent portrayals. Gena Rowlands, has passed away at the age of 94.
Her screen characters, frequently depicted as traumatized mothers or mother figures, carried a brittle intensity that left a lasting impact on audiences.
Born in Madison, Wisconsin, in 1930, Rowlands embarked on her illustrious acting career in 1956, starring alongside Edward G. Robinson in Paddy Chayefsky’s Broadway play ‘Middle of the Night’.
Her early television roles quickly led to opportunities in Hollywood, with notable appearances in ‘The High Cost of Loving,’ 1958 and ‘Lonely Are The Brave’, 1962.
From that point forward, Rowlands’ career rarely paused. She collaborated with some of the most revered filmmakers in contemporary cinema, including Woody Allen, Jim Jarmusch, Terence Davies, and Paul Schrader. Yet, it was her ten collaborations with her husband, John Cassavetes, that truly defined her legacy.
Cassavetes, a trailblazing independent filmmaker known for his daring, unconventional films, first directed Rowlands in the poignant drama ‘A Child is Waiting’, 1963.
The couple, who married in 1954, would go on to create a series of groundbreaking arthouse films that delved into the complexities of human relationships and the depths of emotional intensity, culminating in their final collaboration, the critically acclaimed ‘Love Streams’, 1984.
The American cinema of the 1970s is often seen as a battleground between the blockbuster spectacles of George Lucas and Steven Spielberg and the adrenaline-charged narratives of films like ‘The Godfather’, 1972 and ,’The Exorcist’, 1973. Within this landscape, the work of Cassavetes and Rowlands stands as a third, equally important influence.
Reflecting on her early career, Rowlands once noted, “Almost all of the women’s parts were glamour girls.” It was through Cassavetes’ scripts that she transformed the portrayal of female characters in Hollywood, challenging traditional conventions and championing artistic freedom and creative control.
Among their most significant collaborations were ‘Faces’, 1968, where Rowlands played a disillusioned wife; ‘Opening Night’, 1977, in which she portrayed an aging actress; and ‘Gloria’, 1980, a mainstream crime comedy-drama that earned her a second Academy Award nomination for Best Actress.
Rowlands reveled in the larger-than-life role of Gloria, a mobster’s moll on the run. Critics noted how the role resonated with Rowlands’ own self-image as a sexy but tough woman who didn’t need a man.
Described as an “inside out” actress, Rowlands approached her performances with meticulous preparation. She would begin by thoroughly absorbing the script, only focusing on the character after the lines were fully internalized.
The bravado seen on screen was not spontaneous but the result of careful craft and nuanced interpretation.
Her peers—Jane Fonda, Angie Dickinson, and Ellen Burstyn—never ventured as boldly into their roles. Rowlands’ performances captivated audiences with their raw emotion and profound psychological depth.
This approach, combined with Cassavetes’ gritty realism and no-nonsense characterizations, resulted in a series of naturalistic, unforgettable performances. “You can’t hide anything from film,” Rowlands once admitted.
Her first Academy Award nomination came for her powerful performance in ‘A Woman Under the Influence’, 1974, where she played Mabel Longhetti, a woman grappling with mental health challenges. Rowlands’ portrayal offered a poignant exploration of human vulnerability and resilience, walking a fine line between pathos and hysteria.
She later confessed that she initially struggled to understand how to portray Mabel, so erratic and detached was the character.
Yet, the result was nothing short of breathtaking, with Rowlands delivering a performance that barely seemed like acting. It’s no surprise that future generations of actors and filmmakers, from Cate Blanchett to Pedro Almodóvar, regard ‘A Woman Under the Influence’ as a definitive example of complex, authentic acting.
After Cassavetes’ death in 1989, Rowlands continued to grace the screen, particularly in television roles.
She won an Emmy in 1987 for her portrayal of the title character in ‘The Betty Ford Story’ and another in 2003 for her luminous performance in ‘The Incredible Mrs. Ritchie’, which one critic described as “incandescent.”
Modern audiences may remember her best for her role in ‘The Notebook’ (2004), directed by her son Nick Cassavetes, where she played the older version of Allie Calhoun, originally portrayed by Rachel McAdams.
In one particularly memorable scene, Allie, now suffering from dementia, becomes confused and agitated, a moment that echoes Rowlands’ earlier work in ‘A Woman Under the Influence’ where her character’s raw vulnerability is laid bare.
In 2015, Rowlands was honored with an Academy Award for her remarkable career. In her acceptance speech, she shared a charming anecdote about working with her idol, Bette Davis, another fiercely independent and outspoken actress.
Reflecting on her unique talent, Tennessee Williams once wrote, “Gena possesses a titanic talent. She’s violent yet sweet; manic yet lucid; beautiful yet plain; accessible yet unknowable.”
