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Entries in Gena Rowlands (16)

Saturday
May062017

Tweetweek: Pfans, Met Gala Madness, and Handmaid's Dystopia

More tweets after the jump including the healing power of Michelle Pfeiffer, the Met Gala, Face/Off and The Handmaid's Tale...

Click to read more ...

Sunday
Sep042016

Podcast: Smackdown Reflections and Film Critics on Acting

Nathaniel talks to Sheila O'Malley, one of the best film critics on acting, as they reflect on recent Smackdown adventures, the chaos of acting careers, and the problems with "best" designations.

Index (43 minutes)
00:01 Acting training, Geraldine Page, and critics who "get" acting
06:45 Glenn Close and Robert Redford Reveries in The Natural
14:00 The quality of acting fields & self-selecting "Oscar movies"
20:45 Romancing the Stone and the "realm of fantasy" versus the "gritty" farm wife movies. Why do some movies hold up so well over time?
27:00 Peggy Ashcroft and Lindsay Crouse. Plus: making out with Ed Harris.
33:00 The rumors about Swing Shift and Jonathan Demme's original cut. Did we lose a masterpiece?
40:18 Sheila's connection to Gena Rowland's Honorary Oscar.

You can listen to the podcast here at the bottom of the post or download from iTunes. Continue the conversations in the comments, won't you?  

P.S. Read more about Sheila's Gena Rowlands tribute here.

a conversation with Sheila O'Malley

Wednesday
Aug172016

1984: John Cassavetes' Farewell "Love Streams"

by Bill Curran

The story of an irredeemably chaotic, forever ailed pair of siblings—Robert (John Cassavetes), a louche, bestselling (but never working) author and alcoholic, and Sarah (Gena Rowlands), his troubled, manic sister just divorced and now separated from her daughter—Love Streams doesn’t care much for a Story, capital “S”.  There is no dissolution or sea change in Cassavetes’ swan song*. If one of the chief pleasures of any good narrative is the suggestion of lives lived before and after the story itself, it’s striking to note that, unlike previous Cassavetes works like Faces and A Woman Under the Influence (with their forever altering moments), Love Streams exists on a continuum. We know Robert and Sarah will never really change. And there is a poignant resignation in realizing at the film’s end, as a thunderstorm pounds the windowpanes of Robert’s home and Sarah’s new companion’s car, that we’ve witnessed only a beautiful stepping stone in their zigzagging roads to nowhere.


Instead, the film achieves a dreamlike intensity, moment to moment, by giving free reign to Robert and Sarah’s thoughts and associations...

Click to read more ...

Thursday
Aug112016

The Method Is No Longer Worth the Madness

If you haven't yet caught the latest essay from Angelica Jade Bastién (who has written here a few times) check it out at the Atlantic. It's called "Hollywood Ruined Method Acting" and it goes at the increasingly torturous PR campaigns that surround modern "accomplishments" of screen acting. As as usual Angelica is quite insightful about acting and sexism. Bless her for citing Montgomery Clift's contribution to acting, non-method styles that are just as valuable (see Brad Pitt) and the various incredible female actors (like Gena Rowlands) who are pushed aside due to the obsession with masculinity. Marlon Brando gets all the credit and don't think it's not because of the machismo and swagger.

I'd quote the article but instead I'll quote Jason's reaction which made me giggle:

I was nodding my head in agreement so furiously I was spitting out vertebrae by its end

Same. Same.

Sunday
Feb282016

Oscar Arrivals Live Blog

6:03  Perhaps a good omen: As soon as I began typing, Honorary Oscar winner Gena Rowlands appeared.

She tried to talk about A Woman Under the Influence (1974) but Ryan Seacrest felt it was more important to discuss The Notebook (2004). Never mind about that omen. Happy thoughts! Who's next?

Lots more to come including Sandy Powell, Bette Midler, Whoopi Goldberg, Alicia Vikander, and the Ghost of Michelle Pfeiffer in Scarface after the jump... 

Click to read more ...

Wednesday
Nov112015

We didn't need dialogue. We had FACES (1968)