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This is so great – many thanks for this little taste. Will have to get my hands on Love Streams somehow. In the meantime there’s lots of great Rowlands performances to explore.
Also, her character’s bowling technique looks a lot like mine.
Ha! And she bowls barefoot – which is part of her problem. She can’t get any traction! That scene was so mortifying the first time I saw it – but once I broke the ice with it, now I see it as funny, warm, brave, beautiful and actually positive. She’s TRYING to be connected to others and she succeeds!! Everyone she meets is funny, helpful, and do not judge her. But it took me a couple of viewings to get past my own projections onto her!
Hopefully Love Streams will hit your shores eventually!!
So do I. In the meantime I hope you are enjoying the experience of sharing your love of Rowlands.
It’s been great – people are so psyched this release exists now – it’s been fun to watch people either re-discover it or watch it for the first time.
and thank you!!
Incidentally, I kind of need Sam and Dean to go bowling.
… flashing back to the bowling-motif motel room in Something Wicked!
hahaha! Some kind of Rowlands-Supernatural bowling mash-up would be awesome.
Shame there’s no bowling in Season Two. I guess it goes on ‘in between’ episodes.
You just know those guys bowl and they take it very very seriously.
In fact, it wouldn’t be fun to bowl with them because they would be too serious and competitive about it. Ha.
You’ve just argued yourself out of bowling with the Winchesters?
hahahahahahaha
I haven’t seen Love Streams, but I laughed when she fell down, possibly because I am a terrible bowler who actually loves going bowling. I don’t do it very often, but a bowling alley is one of the few venues where I expect to make a fool out of myself and really don’t mind being foolish.
It’s such a beautiful moment in the film because everybody (total strangers) bonds together to be helpful. She, the loneliest woman alive, is suddenly literally BOMBARDED by helpful kind people. It’s heart-cracking – and yes, very very funny too!
Yes, I realize I’m not invested in the character the way I would be if I saw the movie from the beginning so I’m not worried while watching the clip that she’s headed for catastrophe. Instead, I know that she believes “love is a stream that doesn’t go away,” that she’s reaching out–gingerly–and that her face plant attracts a large group of people one of whom eventually drives her home. And she looks so happy when she heads inside. Triumphant really. Her face is such a map of emotions.
Congratulations Sheila! This is so wonderful, I can’t wait to finally see it. And the little that you say here really rings a bell for me about acting, you sound wonderful and I want more too!
I think a lot about this stuff that Gena does so easy, (or she makes it look easy) Not winking at the audience, hey I’m not really like this, truly not worried about being liked. And not thinking that their character is crazy. I caught a small clip about George C. Scott talking about James Cagney last night about this very thing, saying how did Cagney do all those terrible things in movies and people just loved him. Like Gena, Cagney is not distant from his character, he deeply believes everything he is saying and doing and has his reasons for them. This sounds easy, but it’s not, because you simply don’t see it all that much, or actors will just tic this off in their heads intellectually and not really go deep. Plus, Gena Rowlands and Cagney are geniuses! Congratulations again Sheila!
I love George C. Scott’s thoughts on Cagney – yes, that is exactly the kind of thing I’m talking about! Like, White Heat? Cagney is basically a mama’s boy sociopath – and you just ACHE for him. It’s amazing.
// actors will just tic this off in their heads intellectually and not really go deep. //
That’s it exactly, Regina!!
It’s kind of like the post I wrote about some American Idol kid singing an Elvis song with his hands in his pockets. He doesn’t even know how shallow he’s being – he has no idea how deep he is supposed to go – he is AVOIDING revealing himself. Elvis may have had a ton of problems but he never avoided revealing himself onstage totally. He knew that was the gig.
Sheila, Regina – could you think of any performances which don’t quite work because you can see the actor is distancing themselves? Not to name and shame, but it’s interesting to have a comparison.
Hmmm. Let me think.
The first person who comes to mind is Keira Knightley – the only time I felt she has NOT distanced herself from her roles is in Bend It Like Beckham, where she plays a sexy confident tomboy. That felt totally real and organic – she WAS that person. But all of this period-costume stuff – taking on these fluttery damsels in distress, women in passionate love – I just don’t ever ever buy it, and I always feel the actress there – having a “powerful moment,” or telegraphing to us how we should feel, or wanting somehow to be congratulated for how hard she is working. It’s extremely showy surface-level acting – a clear signifier of distancing oneself. I know I am in the minority on this one – but I was actually embarrassed by her performance in A Dangerous Method. I thought she was terrible – mainly because of how distant she kept herself from that role. All I need to do is picture Gena Rowlands in the same role (it would have been a great one for her) – and it is so obvious how shallow Knightley’s portrayal was. She held that character at arm’s length from herself.
I love Julianne Moore very much – but I thought her performance in Magnolia was a CLASSIC example of trying to distance herself from the role. I have not felt that from her before in other roles – so there was clearly something in that part that she couldn’t “get to” – and so she sketched it in, hoping we wouldn’t notice. The character didn’t get inside her, at all. And so she cranked up the mania and the hysteria, but … it didn’t land. In me, the audience, or in her, the actress. She flailed.
Hilary Swank distances herself. I can always feel her gunning for an Oscar. Her ambition as an actress is just so palpable – her work is sometimes good – but there’s a graspy self-congratulatory quality to it that I, personally, can’t ignore. (Not, ironically, in Boys Don’t Cry – which she did having no idea anyone would ever even see it.) Fame has really impacted her talent, in my opinion.
If I think of more examples I’ll share them.
And, of course, everyone’s mileage may vary.
I’ve seen many Stanley Kowalskis onstage by actors who distance themselves from the role. They only see Stanley as a villain – or they condescend to Stanley by making him a grunting prehensile brute – they are unable to embrace the contradictions of Stanley. They chew the scenery, throwing plates – but they miss the essential heart of the character. They hold him at arm’s length – they don’t know they’re doing it. It’s condescending – although they perhaps don’t mean it that way. It’s a way to “look down” on your characters, by telegraphing to the audience, “God, look at what an asshole Stanley is.” It’s irresistible, sometimes – because the ego can be truly threatened if you identify yourself WHOLLY with a villain/rapist/monster whatever. What if the audience thinks you are actually like that??
I have Stanley on the brain because I just came across a quote from Marlon Brando, from an interview he gave in 1990 to writer/critic James Grissom. Here is how Marlon saw Stanley. Look at the depth of understanding. So many actors never go this deep – either they can’t, or they are unwilling to – for their own self-protective reasons. Here’s Brando:
“I had to understand and respect Stanley, so I had to see through his eyes, and it wasn’t that hard, because we all have some Stanley inside of us. I knew men like Stanley: simple, hard-working men who have been set out to walk on a short, hot, bumpy road. All Stanley wants is his own home, some respect, some pussy, and dinner and bed at the same time every night. Every once in a while he has his outside fun with the guys–poker, bowling, some strange, foreign pussy on the other side of town. This is his life, and if you look at it, he’s as tragic as Blanche. Stanley rapes Blanche, but it’s what she wanted, because her power in the past had been through sex: It’s how she got men to give her some petty cash to paint Belle Reve or get some fancy clothes or turn on the lights. Blanche throws her sex at Stanley in the hopes of getting a place to stay, but her payment–her sex–is no longer any good. I think that’s what drives Blanche crazy, and I told Jessica [Tandy] that. Imagine your mode of survival is cut off. Stanley just wants to have his own place with his wife and the kid on the way, and Blanche is willing to destroy it all just to get another guy to pay the bills. another sweet-smelling bath, another audience. I was able to see Blanche as the villain–as Stanley, you see. As Marlon, I feel terribly for her and her poetic soul, but she has entered a house and has lied and seduced and is willing to bring it all down, and Stanley has to stop that; Stanley has to protect his home. So Stanley destroys her the only way he knows how–through sex, which he bounces back at her like a bad check. Stanley wins, for now, but the bad times for Stanley are at the end of that short, bumpy road, and that’s a play I imagined for myself many times, and I could love Stanley seeing him at that stage of his life, with none of his goods wanted any longer, and not a fantasy left to lift him up.”
Marlon, hats off. That is really, really understanding your character and his point of view. ‘Not a fantasy left to lift him up.’ Just wow.
And thanks for your other examples – I get both the actor who never ‘gets there’ all, and the one who for some reason just can’t land it.
By the way, right now, directly opposite my flat is a theatre currently running A Streetcar named Desire, with Gillian Anderson and Ben Foster as Blanche and Stanley. First off, there’s no hope in hell of getting tickets, because Gillian Anderson. Here’s a link to a review.
Oh, and Dogfight the musical as opened in London! I’ve seen diametrically opposite reviews, but here’s a good one.
Signed, your London theatre correspondent.
Ahhhh! I’ve been so wanting to see Gilliam Anderson as Blanche ever since I heard she was doing it – it’s really compelling casting. Thanks for the review – I will read it!! I wonder if that production will make it to New York – maybe out at BAM or something – I don’t know.
I did not see Dogfight the musical while it was here although I did see some Youtube clips of some of the songs and they were kind of sweet.
And yes, thank you for keeping me informed of the London theatre scene. Check’s in the mail.
Hi Sheila,
Secrets is a fantastic way to begin that section on Love Streams. The “what is really going on?” question is almost always the elephant in the room when I watch Gena Rowlands (earlier stuff particularly). It builds such a fascinating tension with her when watching. I haven’t seen Love Streams, but it almost seems like the audience sees her similarly to the way that the other characters see her, which is so unusual now. It seems like nowadays, the audience if very rarely left guessing about a main character, we learn the ‘truth’ in close up or something like that. All so we don’t misunderstand or spend a moment disliking them, I suppose. Well I’m hooked and want to learn more!
And that quote by Brando… damn, what an excellent insight. I didn’t know he was so articulate. As always, I’m learning and stimulated by your site.
As for the Winchester bowling question- the answer is YES.
// The “what is really going on?” question is almost always the elephant in the room when I watch Gena Rowlands (earlier stuff particularly). //
Heather, I totally agree! She’s almost … frightening. Because you want to know what is happening … and you can’t get at it. Love Streams is some of her best work – and it’s just so great that people can actually SEE the damn thing now! Thank you, Criterion!
and yes – Marlon, right?? He’s not afraid to identify totally with the brute and the rapist, and see where it’s all coming from. He was a phenom of empathy, Brando.
// As for the Winchester bowling question- the answer is YES. //
hahaha
Honestly, I need it to happen.
This piece below is super-long, everyone, so feel no pressure to read it at all – but I wrote it in a frenzy after seeing Sam Rockwell and Jessica Hecht play Stanley and Blanche at Williamstown – one of the best productions of the play I have ever seen. And Rockwell totally NAILED that dynamic that Brando mentioned. Stanley feels threatened, his home is going to be destroyed, he must get rid of this woman.
Anyway – there are a lot of thoughts here too about “distancing” and how actors keep certain roles at arm’s length –
http://www.sheilaomalley.com/?p=39026
Like I said, probably way too long. But I obviously felt strongly about it!
//Honestly, I need it to happen.//
I’m seriously beginning to wonder if bowling is a euphemism for something else.
Probably. I won’t deny it.
//Probably. I won’t deny it.//
Well, I won’t if you won’t.
Sheila I was going to go into White Heat but I restrained myself, haha! That insane, crazy but still real, walk on the dining tables after he hears, “Ma’s dead” and done with such style and grace! And that quote from Brando so brilliant, and “some strange foreign pussy on the other side of town” So hilarious! How can you get more personal? that’s original.
Right?? Stanley was real to him – not a caricature or an attitude. He had the whole thing in his head.
Oh and by the way: you MUST see Love Is Strange. Great great acting film – one of the best I’ve seen this year. I was a wreck by the end of it. It opens today – I think you will love it!!
Love the clip Sheila and congrats! I am looking forward to seeing this one day. I am already fixating on her hair. That scene in the psych’s office. It’s so huge. It’s so THERE. It is not playing by the rules. But it’s not like generic Crazy Lady hair. It’s not mocking her. Does that make sense? The movie sounds so great.
Oh God YES the HAIR.
// It’s not mocking her. //
It makes total sense and encapsulates why I love her work so much. There’s no mocking. Her characters are so out there, so unstable, so ODD, and she plays them with such empathy that you can almost feel the culture cracking open a bit wider to incorporate them.
Speaking of her fabulous hair: here’s a funny story. Cassavetes made money appearing as an actor on television and in big film projects like Rosemary’s Baby, Dirty Dozen, blah blah. So did she. Cassavetes poured most of that income back into his directorial projects – but they were always BROKE. They mortgaged their house multiple times. They were constantly in a state of financial siege, and he would introduce to the family unit (they had three kids) – things they could do to save money. It was a team effort: “Okay – so we all have to bond together – no more this and that for a while – because we need the dough!” For the most part, Gena Rowlands went along with it. She loved him, supported him, they were in this thing together. But she drew the line at her weekly hair appointments. “You can sell my clothes, you can tell me I can’t wear new shoes anymore, you can deny me food if you want – but I am GOING to get my hair done every week.”
hahaha Cassavetes was no dummy. He was like, “Sure, baby, whatever you want.” But I love that THAT was her deal-breaker.
Her hair is a living entity. It is fabulous – and totally different depending on the character. Sometimes it is huge and blown out, other times it is a perfect coiffe – with curled-up ends. Then, in Woman Under the Influence, it is stringy and wild, swooped up in a giant bun on the back of her head.
I am also obsessed with how her hair BOUNCES. I could never get my hair to do that.
What a great story! And what a great love, too, to make it through all that in such a notorious place as Hollywood.
I have never been able to do my hair “right”. It never bounces. I feel your pain.
I know in re: the hair and their relationship. It’s very inspiring!
I suppose what I would have to do to achieve bounce is roll my hair in curlers every night, and spend the time to blow it out and shape it – all the things Gena had done for her every week because that was how she liked her hair. And I am … I just am not willing to spend that time. Therefore, I have no bounce. I have tried to make peace with it.
Sheila Yes, great story about Gena’s hair, I’ve always noticed it too. And she’s a character actress with classic Hollywood good looks. It’s a killer combination. And thanks for your eloquent, clear, detailed examples to Helena, and this is just in your comment section, that’s just ridiculous Sheila! haha! I again, have to say I can’t wait to see Love Streams and hear all that you have to say. I will check out Love is Strange!
I mean, Gena is a classic BROAD, isn’t she. Born to play a tough gun-moll which finally happened with Gloria. One of the points I tried to make in my essay – was that she is not a “realistic” actress. Her stuff is highly stylized – as well as emotionally connected. You can look at her in a straight line with Barbara Stanwyck or Dietrich (her idol as an actress – I found that out during my research for the piece – that Rowlands, in her earliest days in her career, found inspiration in the work of Marlene Dietrich – when I learned that a bunch of stuff clicked into place for me. Of COURSE Dietrich was her idol!!).
So much of my grooming regimen is delimited by “would I rather be reading right now?”
I love that word BROAD, haha! I think it should be brought back! I was also thinking about the fantastic, Another Woman and how completely different Gena Rowlands is in that. Dietrich! I love her, yes I can see that. And interesting that no matter how instinctive Rowlands is, like Dietrich she’s highly intelligent, and they are deep but simple people in their real lives. Also, they both have masculine qualities that I find compelling.