Quotes By/About Gena Rowlands

These quotes focus on the Cassavetes years. Rowlands has had a vast career outside of that, only it’s just not as well documented.

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“I spotted this doll one day and pretended that I wanted to talk to her about a role. And that was it.” – John Cassavetes

“I was a woman with a plan. The only thing that could really stop me from succeeding was to fall in love. In those days, if you got married, you had children and quit what you were doing. I wanted to be an actress bad enough that I would forego the comfort of love. I was going to be very careful. So I went in to lunch and put my books in my locker and I saw John Cassavetes. And I thought, Oh damn, not this. This is just exactly what I don’t want.” – Gena Rowlands, describing the exact same moment

“I was brought up in an unusual situation: My mother was a feminist and my father was a male chauvinist, but they got along marvelously.” – Gena Rowlands

“Everything I know is something my mother told me. She said, ‘Don’t skirt around life or be frightened to do things.’ She told me it was important to put your arms into life, up to the elbows. Do it all – dig in.” – Gena Rowlands

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Gena Rowlands and her mother, “Lady” Rowlands, in “Minnie and Moskowitz”

“I was young. And I felt that everybody had talent. And that for some reason they were being arbitrary and not employing that talent. Because I thought, Well, these people are the giants of an industry, they have a good brain and a good heart and ability. How come they don’t use it? And Gena would say, ‘Look a lot of people just don’t have the same drives, the same desire, the same gun that sparks them, as you do. You’re acting like these people all understand you. Nobody understands you. I don’t understand you. Who the hell can understand you? You’re nuts.'” – John Cassavetes

“I’ll never forget a scene we had together in a Hitchcock movie for TV. I was on the phone and John was sitting behind me. Not till I saw the show did I know that, instead of sitting quietly, John was pulling his ear, looking sharply right and left, looking at his watch. It was very entertaining, but it was my scene. When I told John I was shocked that he would do such a thing to his own wife, he said, ‘Every man for himself.'” – Gena Rowlands

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“My wife and I have a high threshold for pain. If you’re enjoying yourself and you have a lot of friends and they’re all suffering with you, you’re fine. I’d hate to be the only one suffering.” – John Cassavetes

“I couldn’t believe John wrote it. I don’t mean to be sexist because I don’t really believe that women can’t write for men and vice versa. But I really couldn’t believe that a man would understand this particular problem. You can spend an evening with John among friends and think he hasn’t noticed anything that’s going on or heard anything anyone has said. And then later you discover this amazing understanding in his writing. He understands women of all ages.” – Gena Rowlands on first reading the script for “A Woman Under the Influence”. She would get her first Academy Award nomination for her performance as Mabel Longetti.

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John Cassavetes shooting Rowlands’ famous breakdown scene in “A Woman Under the Influence

“With John’s scripts, it’s like being an astronaut on the moon for the first time. The air is very light, you have to wear heavy boots, you have to push yourself out into areas that are very frightening. I suppose I push farther for John than for any other director, not because he’s my husband. It’s because he happens to be the kind of artist and director that he is. I know that other actors feel the same way – and they’re not even married to him.” – Gena Rowlands

“The emotional strain was so great that we never went out socially for thirteen weeks. No movies, no parties, no home entertaining, nothing. At night we’d collapse, make coffee, then start talking about the work. Yesterday’s work, last week’s work, last month’s, next week’s, next month’s. We’d wake up in the night and talk some more. It was that kind of total commitment. One time, I remember, we lived it all so completely that I suddenly became Nick to Gena’s Mabel. She looked at me with those big, glaring, beautiful eyes of hers and said to Peter, “Will you hold him while I hit him?” – John Cassavetes, on filming “A Woman Under the Influence”

“You change your energy and allow another person to haunt your house, so to speak. It’s like being a medium. It left me exhausted and depressed-feeling. Some of the time, when you’re walking out there where the air is thin, you just hope you can walk back again.” – Gena Rowlands on playing Mabel in “Woman”

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Gena Rowlands in “A Woman Under the Influence”

“I loved Mabel so much that I wanted to do right by her. That’s why, above all, I pleaded with John: Please, let’s not romanticize her martyrdom.” – Gena Rowlands on “Woman Under the Influence”

“All I know is that this woman couldn’t speak, she couldn’t express herself. And when you can’t speak, when you’re playing that kind of part and becoming involved in it, then things will start happening with y our body. The human spirit will not take it silently. If you cannot express something verbally, it will come out in some way, and in her it came out in bizarre physical gestures. But I didn’t plan it.” – Gena Rowlands on Mabel’s wordlessness and unforgettable gestures in “Woman”: raspberries, and strike-out hand-gestures, and eye-rolls, etc.

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Gena Rowlands in “A Woman Under the Influence”

“I find it difficult in terms of work to look at any other woman and see what I see in this woman. She’s an incredible instrument. She has incredible excitement and she’s exposed and she has all the attributes of being a great actress.” – John Cassavetes

“I remember going there and John mumbled something about where we should stand, then suddenly the camera was going. I remember saying my lines but I don’t remember having the feeling of acting. It was like I was watching somebody in life. I was riveted. Her descent into madness is the most extraordinary twelve minutes of sustained acting I have ever seen on film.” – Peter Falk, Rowlands’ co-star in “Woman Under the Influence”

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Peter Falk and Gena Rowlands, “A Woman Under the Influence”

“To me, it was moving. I don’t get depressed if I see a picture about some emotional quality someone has. I know some people avoid that but I like to be wrung out.” – Gena Rowlands’ response to Tom Snyder’s question about whether or not Rowlands thought “Woman Under the Influence” was “depressing”

“To hear 1,800 people clapping their hands in unison is glorious. I was so thrilled that I turned around to John – but he wasn’t there. And I knew what he had done. He wanted it to be my moment. My moment entirely.” – Gena Rowlands on the celebrated first screening of “Woman Under the Influence” at the New York Film Festival

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Gena Rowlands in “Opening Night”

“There are vast areas of the female experience that haven’t begun to be tapped and which won’t be except when women start to write about them. For a long time, women were immensely unpopular in this country. However, the receipts from the film indicate a revival of interest in the women’s picture, which might create a market.” — Gena Rowlands on the success of “Woman Under the Influence”

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“I’m a feminist in that I’ve been a self-supporting woman since I was eighteen years old. I am a wife to a husband; I’m a mother to three children. I am not a cupcake actress – though I have nothing against them and I don’t mean that to sound condescending. My emphasis in life is deeply split between these two things – to be an actress and to be a mother. It’s a great conflict in my life.” – Gena Rowlands

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“When Gena and I are home together, we’re husband and wife. On the set, we’re deadly combatants. We have great respect for each other, like enemies do.” – John Cassavetes

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“When I read the script, I knew I wanted a walk for her. I wanted something that, from the minute you saw me, you would know I could handle myself on the streets of New York. So I started thinking about when I lived in New York, how different I walked down the street when there was nobody but me. It was a walk that said, They’d better watch out.” — Gena Rowlands on playing Gloria in “Gloria”

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Gena Rowlands in “Gloria”

“Gena is so absolutely private that – I didn’t know she played the piano for 10 years! I walk in one day, she’s playing – I hear this, I thought it was a record, a fantastic concert. I walked in and I got terribly angry with her. “What the hell are you doing? ! You’re playing the piano! You never told me you played the piano! This is such a double-cross, I don’t understand what the hell is going on!’ I walk out, I get angry, and she got angry back at me, see? And she wouldn’t speak to me for two weeks over this thing. We never mentioned it again.” – John Cassavetes

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“John has a great affinity for characters that are perceived by the world generally as crazy, or cuckoo, or whacko, or at least eccentric. The character that I play [in Love Streams] is one of those characters – that most people think is, well, quite crazy. But we don’t see it that way. But then, I didn’t think Mabel Longetti in Woman Under the Influence was crazy either, where everyone else saw her as patently so. It’s just that they have a different dream – a different thing that they wanted out of life. And they’re confused as to why it doesn’t happen, and how they found themselves in this position where they’re marching out of step with everyone else. Personally, I don’t think anyone is crazy who is cruel. To me, cruelty is crazy. Anything short of that, I wouldn’t consider crazy. Of course, sometimes if you have a very strong dream and you follow it no matter what, you are inadvertently being cruel without meaning to, because you ride roughshod over others. But still, if it’s not actual cruelty, to me that person isn’t insane at all.” – Gena Rowlands

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Gena Rowlands in “Love Streams”

“Once a picture is finished it sort of just … makes a lock in my mind. I only see it once usually at the end, or maybe twice. I don’t want to remember it that way. I still remember it from the inside looking out. It’s very difficult for me to be an audience to it ever. It’s sort of disturbing to me, so I usually don’t see it except just to see how the whole thing turned out. But that’s the last of it. [It’s disturbing because it’s] changing sides, I guess. It’s as if you would be asked to suddenly step out and observe your life. I don’t feel that it’s necessary for me to be an audience – so I don’t see why I have to if it disturbs me. I guess, I wish to think of it on the other side – I wish not to lose the character, the private specific character to me.” – Gena Rowlands

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“Gena is subtle, delicate. She’s a miracle. She’s straight. She believes in what she believes in. She’s capable of anything. It’s only because of Gena’s enormous capacity to perform that we have a movie, because a lot of people would be a little bit too thin to work on it. Gena is a very interesting woman and for my money the best player that is around. She can just play. Give her anything and she’ll alway be creative. She doesn’t try to make it different – she just is – because the way she thinks is different from the way most actors think. She goes in and she says, ‘Who do I like on this picture? What characters do I like, what characters am I so-so about?’ I picked up her script once and I saw all these notes, all about what reaction she had to the various people both in the production and the story. It was very personal to her, and I felt very guilty that I’d snooped. Then I watched her work. She sets the initial premise and follows the script very completely. Very rarely will she improvise, though she does in her head and in her personal thoughts. Everybody else is going boom! boom! boom!, but Gena is very dedicated and pure. She doesn’t care if it’s cinematic, doesn’t care where the camera is, doesn’t care if she looks good – doesn’t care about anything except that you believe her. She caught the rhythm of that woman living a life she’d never seen.” – John Cassavetes

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During an interview, the interviewer, clearly in awe of her, babbled on for a bit, and then said, “I’m not sure – what I’m trying to say.” Rowlands said, “I’m so glad, because I never know what I’m trying to say either.”

Sources: Accidental Genius: How John Cassavetes Invented the Independent Film, by Marshall Fine. Cassavetes Directs: John Cassavetes and the Making of Love Streams, by Michael Ventura. Cassavetes on Cassavetes. Documentary footage of interviews given by the two of them, found all over the place. A 1993 (or maybe 92?) interview with Gena Rowlands that I cut out of a magazine back then and saved.

Posted in Actors, Directors | Tagged , | 6 Comments

R.I.P. Maureen O’Hara

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I was barely home this weekend, so I did not have a chance to commemorate the passing of the extraordinarily beautiful, talented, and sexy-feisty Maureen O’Hara. Coincidentally, I was hired a couple of weeks ago to write an essay about John Wayne in The Quiet Man (a movie I have seen probably 50 times. It’s a requirement for Irish-Americans. We’d be deported if we didn’t like it. I know the Irish dislike the movie. I can see why. But I also can understand why it is a classic amongst Irish-Americans, as well as, in general, John Wayne and Maureen O’Hara fans.)

Along with The Quiet Man, I also grew up watching The Parent Trap. At a party on Saturday, thinking of Maureen O’Hara’s impressive bullet-bras in The Parent Trap, I mused, casually, standing among a group of men, “She has some nice tits in that movie,” and the men erupted into laughter. One guy said, “Yeah, that’s exactly how I’d describe Parent Trap. The great-tits movie.”

I wasn’t even drinking.

I also wasn’t lying. Exhibit A:

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My good friend Dan Callahan penned the tribute to Maureen O’Hara over at Rogerebert.com, and as usual he does not disappoint. While it is The Quiet Man for which she will be forever known, there was a lot more going on there, and Dan gets into it.

I love the mention of the famous whisper at the end of The Quiet Man. Let’s take a look so we can analyze.

In her memoir, O’Hara describes the filming of that whisper. John Ford came up to Maureen O’Hara and told her what he would like her to whisper. The whisper would not be heard on camera, he assured her. But the moment would close out the movie. We do not know what Ford told her to say, and in the memoir, O’Hara describes how she protested. We can only imagine that whatever John Ford told her to say must have been filthy. X-rated. And immediately after the whisper, the two run – yes, RUN – back to the thatched cottage together.

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I mean, look at John Wayne’s reaction to the whisper. (He had not been told what O’Hara would whisper.) To be graphic (I’m sorry), once he’s heard what she said, he looks like a hard-on personified.

We were talking about that moment at the same party, and about 5 minutes after the “great tits in Parent Trap” comment, Dan said, “What do you think Ford told her to say?” and I guessed, “Oh, something like, ‘I want your cock …'” (SHEILA.) More eruptions of laughter. There were people there who did not know me so I can only guess what I seemed like, rattling off: “O’Hara had great tits and she wanted Wayne’s cock.” But Dan said, “Yeah, it must have been something along those lines.” O’Hara, who was NOT shy, and NOT a prude, balked at that whisper, and made Wayne and Ford promise that they would never reveal what she said. (They didn’t.) She wrote in her memoir, “I’ll never tell.”

Dan writes in his beautiful piece:

O’Hara never did reveal what Mary Kate Danaher whispers to Sean Thornton at the end of “The Quiet Man,” taking that secret with her to her grave. But that secret is maybe the password to forever halt or ameliorate the battle of the sexes, and O’Hara’s Mary Kate still holds that up to us as a beacon and a goal.

But that secret is maybe the password to forever halt or ameliorate the battle of the sexes” …I love that.

And finally, on The Quiet Man train, I am so grateful for the nerds out there who create gifs of the exact moment I want.

In the famous kiss-scene in the cemetery during the rainstorm, O’Hara’s character is at first shocked (and pretending to be insulted) when Wayne’s Sean Thornton announces that he is about to kiss her. (Of course, their very first up-close-and-personal interaction, before they exchanged a “Hello, nice to meet you”, was a passionate kiss in a windstorm. Again with the right gif!!)

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But in the cemetery, they are now in the proper approved courtship stage, and they’ve talked a bit, fought a bit, and they know each other better. Mary Kate Danaher tries to put him off. Courtship needs to go in the proper phases. Walking out together, etc. No kissing until much later. But Sean Thornton tells her, “Nope. We’re not gonna do it that way.” He knows she wants it. (This is Wayne’s most carnal performance. He was always fully engaged with his sexuality in his roles, in a fresh and natural way, even if there wasn’t a love story. But The Quiet Man, with its frustrations, its lack of sex, its unconsummated wedding night, puts Wayne into the realm of ONLY operating from his sexuality. And … it’s something to see, right?)

Then comes a wild thunderstorm and Mary Kate gets freaked out. It is the damnation of God coming down upon her for impure thoughts. The rain pours down and the two hide under a nearby arch, dating from 1354, or whatever. Eventually, they start to kiss passionately. And, sexiest of all, John Wayne’s white shirt becomes completely see-through, clinging to his impressive body, as he holds her in his arms. Macho gruff John Ford knew exactly what he was doing, knew he was objectifying John Wayne – for himself, and for the audience – and that the camera was reveling in John Wayne’s sexual persona.

There it is.

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One of my favorite quotes from the Scott Eyman biography of John Wayne comes from Maureen O’Hara (who remained mentally sharp up until the end). John Wayne and Maureen O’Hara were friends for most of their lives. Everybody thought they were having sex, but Maureen says No, and close friends of Wayne say No, and Eyman also says No. So I think the evidence is pretty stacked up on the No side. Wayne was fully capable of being platonic friends with women (not a lot of men manage it). O’Hara worked with John Ford and John Wayne a number of times. Ford was tough. He could be impatient, gruff, cruel. O’Hara (and any story she tells needs to be taken with a grain of salt, especially her memoir) tells of one of her first days on Quiet Man and Ford screamed at her about something. Berating her in front of the whole crew. O’Hara fought back, loudly, shouting in his face that he was an asshole. Everyone watched this confrontation cowering in fear. But Ford backed off, and they were best friends until the end. So there’s that. Eyman also wrote about Wayne’s final illness, as he wasted away into nothing. Wayne, a proud strong man, was embarrassed about what he looked like, and also pretty devastated that the cancer had finally gotten him. He didn’t want his friends to see him like that, and he limited his friends’ access. Only a couple of people were allowed to visit in those final months, of the hundreds of colleagues and admirers who wanted to see him. O’Hara was one of the few allowed in. They spent time together, reminiscing, laughing, saying goodbye.

When Eyman asked O’Hara about her lifelong relationship with these two macho tough guys, and how it worked, O’Hara replied (and I can just hear her), “Well, I was really the only female man left in their lives.”

Once again: Read Dan’s tribute to Maureen O’Hara.

Rest in peace, icon.

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Posted in Actors, RIP | Tagged , , | 14 Comments

Gena Rowlands Waiting

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Last week was suddenly taken over by a Gena-Rowlands-Frenzy. I hadn’t planned for it or scheduled it into my calendar, but it arrived and I had to make room. This situation was due to being hired to pen the tribute to Rowlands that will happen when she receives her Lifetime Achievement Oscar on November 14th. My narration will be read by Angelina Jolie. You know, in case you missed the news. I feel deep almost awed humility that these Oscar people picked me to pay tribute to this woman who has, in the words of Tennessee Williams, “endowed” us “with her soul.” It is an honor, seriously.

I went back and looked closer some of the areas of her life I wanted to cover, because her career was much longer (and it still continues) than just the work she did with her husband John Cassavetes. There were television movies, other films.

And I came across the photo above, of Gena on set of some television series she was shooting in the 1960s. She sits off to the side, script open in front of her, waiting to be called. Beautifully, surprisingly, she is barefoot.

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The Books: The Young Rebecca: Writings of Rebecca West 1911-17; “Reed of Steel” (on Emmeline Pankhurst)

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On the essays shelf (yes, there are still more books to excerpt in my vast library. I can’t seem to stop this excerpts-from-my-library project. I started it in 2006!)

NEXT BOOK: The Young Rebecca: Writings of Rebecca West, 1911-17

It’s been an interesting coincidence that Suffragette (which I didn’t like) would come out at around the time that I’ve been busy re-reading The Young Rebecca, essays by Rebecca West written about the suffrage movement (and other things) from the years 1911-1917 – the years when it all came to a head. I already know much of the history, but West gives an amazing contemporaneous view of the often fractious and chaotic events as they occurred on the ground. The push for suffrage was not a linear progression. There was also a lot of division in the ranks. There were serious ideological clashes, and factions broke off, and etc. West was ferocious in her demand for the vote and had been involved in violent protests since she was a teenager. But once she started working as a journalist at 18, 19, she really let loose. Her writing reminds me of H.L. Mencken’s on some level, with the same mix of humor, smarts, and contempt for arguments she thought were stupid. She was an iconoclast, an autodidact (only a couple of years formal schooling), and even in the heat of the moment her critical-thinking skills were on high alert. Despite her involvement in a couple of different “ism”s of the day, she wasn’t really a joiner. She was too independent for that. Similar to George Orwell too. Or Arthur Koestler. She deserves to be recognized as one of the greatest documenters of the 20th century ideological upheavals, and … almost the mass brainwashing that occurs when people line up on either side of that divide. So she was a feminist, but called out some of the silliness, and some of her annoyances with the movement. She was a Socialist, as many intellectuals were in the first decades of the 20th century, but then had the unblinkered attitude that allowed her to see the monstrous results of that ideology as it took form in Russia. (The Left experienced a gigantic split – or another one – over the whole Russia thing. Those who criticized Russia were seen as apostates, traitors, etc. because if you criticize Russia, you’re criticizing the dogma of Socialism, and on and on. It definitely took insiders – those who HAD “believed” in Socialism – like West, Orwell, Koestler – to become the most important voices of the 20th century in picking apart what a shit-storm the whole thing was. And they were NOT thanked for it. Not by their Leftist contemporaries anyway. Conservatives tend to love Orwell, West, Koestler for that very reason, despite the fact that these writers were once caught up in something that conservatives think shameful and evil. So, you know, it’s complicated.)

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Rebecca West

West decimated her enemies’ arguments. She also went after what she saw as the silliness in some of the leadership in her own cause. When WWI broke out, and England got involved, many of the feminist leaders had what West thought were cowardly reactions. She thought pacifism was indefensible in the face of the destruction of Belgium. War was horrible, but there are worse things than war. But what made her even more crazy was the rhetoric coming from some of these lady-leaders, claiming that if women were in charge, the world would be all warm-fuzzy lollipops all the time, and also that women were gentler and kinder, in general. Outside of the ridiculousness of this claim (nobody can be more vicious to one another than a group of women), West thought that such attitudes were harkening back to the stultifying sexism of the Victorian era and backwards in time, when women were considered delicate, gentle, and not capable of leadership positions. Some of the feminists of the day were suddenly – weirdly, to West – claiming special privileges for their sex. West didn’t want special privileges. She wanted to be allowed “in the room where it happens” (to quote Aaron Burr’s number about political power in Hamilton). She wanted to have a SAY in her own destiny, by getting the vote, and by the world acknowledging that women were, you know, human, and capable of being decision-makers at a top level. But not to have special privileges, and definitely not to have women be seen as so “other” than men that they were yet again thrust outside of humanity. West was furious at the pacifism in feminism. She called it out. She would continue to do so. When feminism in those early decades retreated from political power and economic equality into a kind of domestic-private-citizen attitude (concerned with marriage, child-rearing, birth control, housework duties, whatever), West was so disappointed. In a 1981 interview with The Paris Review (near the end of West’s life), West looked back on that time, saying of the feminist leadership:

“I admired them enormously, but all that business about venereal disease, which was supposed to be round every corner, seemed to me excessive. I wasn’t in a position to judge, but it did seem a bit silly.”

Now, of course, people can believe what they want to believe, think what they want to think, based on their own context. But this is about Rebecca West, and her response to events, her context, and her disappointment at the focus on women being “other” (we’re kind and gentle, we would never commit war if we were in power, and since there is war going on right now, we will be pacifists because that’s more in line with woman’s natural nature) was extreme. West called such women, women who only cared about private personal matters, “idiots.” (Men didn’t get off easy either. West referred to men as “lunatics,” racing around and dragging the world into wars and conflicts and ridiculous situations because they couldn’t take a SECOND and work things out in a civilized manner.) All of this has to do with politics. West was a political animal. She always was. She did not have some “awakening” later in life, when she suddenly joined the picket lines. Her first published piece came in 1911 when she was only 12 years old, an angry feminist response to some article in the newspaper. Beautifully articulate, sharp as a knife, and thoughtful. Her tone can’t be ignored.

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Emmeline Pankhurst

Of course West knew the Pankhursts: Emmeline Pankhurst, the mother, and Emmeline’s two daughters, Christabel and Sylvia. In general, West admired these women, although she was in opposition to Emmeline (and the daughters) on a pretty serious deal-breaking level. (And both Sylvia and Christabel differed with their own mother, breaking off into factions of their own.) West saw Emmeline’s limitations, and called out the suffrage movement for following her blindly. West was a Socialist and saw things more in terms of economics than politics. Emmeline was a do-gooder at heart, who saw things in terms of politics/equality. West thought the whole system needed an overhaul. Emmeline wanted to work WITHIN that system. (Every movement experiences similar disagreements along similar lines.) Christabel’s focus on STDs, and her declaration that women should abstain from sex entirely was seen by West as absolutely ridiculous, naive, silly, the epithets go on and on, but worst of all it was harmful to the movement, and THAT West could not forgive. Don’t these silly prudish ladies realize that a prudish movement will NEVER have wide appeal? could sum up West’s response. An attitude like Christabel Pankhurst’s would automatically exclude women who chose to still have sex with their husbands (because … well, because. It’s marriage. Not all men bring STDs home. West would say in her columns things along the lines of: “Well, you’re hanging out with the wrong kind of men if you think they’re all like that.” West could be brutally dismissive.) An anti-sex platform was narrow-minded and hysterical, in the classic sense. At the same time, later in life, West defended Christabel Pankhurst from various biographers, whom West thought got everything wrong. It was one of those situations where if you’re an insider (as West was), then criticism and disagreement was part of being in the movement. But just let an outsider come along and sneer about it, or point out “hypocrisies” or “inconsistencies” and then West was like: … what does this man in 1970 know about ANYthing and who is HE to criticize the great Christabel Pankhurst??

In the period 1911-17, Emmeline Pankhurst was at the forefront of the movement, its figurehead, but Emmeline’s activism reached back into the 19th century. (Her parents were political activists, her ancestors were abolitionists, she grew up in that kind of aware and motivated household). Her daughters were also leaders in the movement, and the Pankhursts were so associated with women’s suffrage that calling women “Panks” was the derogatory term of the day for “unwomanly” women who agitated for the vote.

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Emmeline Pankhurst making a speech

When Emmeline Pankhurst, after multiple imprisonments, after watching the ranks of her followers disappear into prisons, after realizing that the men in power were not about to budge – even their so-called allies kept selling them out – Pankhurst advocated a stronger approach. “Stronger” being an understatement. And that was when the bombs started going off around England. A reign of terror began. These ladies blew up Lloyd George’s summer home, for example. Blew it to bits. They dropped bombs in post-office boxes. They rioted and broke windows.

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Emmeline Pankhurst getting arrested

Another engrained attitude at the time was that women were seen as being under the umbrella of protection of men: whether it be a father or a husband. It was how society was set up. That was the social element of it, but that was extended into politics. The men in society were casting votes FOR the women underneath their umbrella. But again, and very important: that attitude emerged from the middle-class. It has middle-class written ALL over it. There were many many women who were not middle-class, who had to go out into the world and work, who had ZERO male protection, had NEVER had it, and never WOULD. West was one of those people. She HAD to work. She had a baby out of wedlock at age 20. She had to raise that child on her own, because the father – H.G. Wells – was a deadbeat. Nobody gave West anything. She had loving parents, but there was no “cushion” for West to fall back on. Very different outlook, and made West a very unique voice in the clamor of voices.) So the whole “umbrella of protection” thing was more outrageous to working-class women and women like West than it might have been to middle/upper-class ladies who actually emerged from that patriarchal environment.

In this 1933 essay called “Reed of Steel,” West gives a biographical account of the life of Emmeline Pankhurst (who had died in 1928.) 1933 was a devastating year in world-events. The mood of the time was bleak, and dangerous forces were again aligning, and West could feel which way the wind was blowing. The fight for suffrage back in the teens felt like a million years ago. Women had the vote now. And women could not prevent the events of the early 30s, which then dragged the world into war yet again. (West never thought women would eradicate war, she thought that was silly, but still: there was a hopelessness in the air then, a feeling that nothing could stop the world from plunging itself into the cataclysm yet again.)

By looking back at the life of Emmeline Pankhurst, its trajectory, its complexity, West found herself in awe at how much had changed, and how much had been forgotten. WWI wiped out the continuum with the past. Nobody could remember what the world was like before that war. And so Emmeline Pankhurst, who had fought for the vote, and died shortly after the vote for women was granted, was receding into the mists of history already. West was sad about that. The fight for suffrage was less than 20 years before but it might have been ancient history. (This attitude, borne out of the carnage of WWI, is what helped create “Modernism” in literature. A dissociation with the past. The 19th century killed outright. Writers baffled at how to describe their reality, their world. A new language was needed, a new form.)

West’s article on Emmeline Pankhurst is lengthy and detailed. There are so many excellent lines. (She’s the kind of writer who has an unforgettable sentence in almost every paragraph. H.L. Mencken comes to mind again. And no wonder Christopher Hitchens considered Rebecca West his “north star,” one of his major inspirations as a writer. He’s not alone.) You get a great background for the woman West referred to as a “reed of steel” (the line I quoted in my Suffragette review), but it’s not a hero-worship piece. West could see the good with the bad, the faults with the gifts. She was never an “either/or” person, which made her difficult to classify, and therefore difficult to analyze. Some current-day feminists (the ones who have brought a rigidity to the language that would have seemed, frankly, totally insane in 1911, and seems, #sorrynotsorry, insane to me now in 2015, and I’m a feminist!) very well might hate Rebecca West. Their loss. They may disagree with her, but they could certainly learn what successful rhetoric looks and sounds like. Conservative-leaning people, who, in general, love West’s vicious prophetic critique of Socialism’s end-result in Russia, tyranny, dictatorship, as well as her disdain for pacifism, especially with people like Hitler and Stalin running amok, have issues with some of her other stances, especially her staunch feminism. But if you love West, you have to take all of her. You don’t have to AGREE, but anyone who wants to read a writer and find 100% agreement is a propagandist, and would probably be happier reading poorly-written pamphlets espousing their particular cause. West can be difficult. It’s actually fun to argue with her when you read her. It’s fun to go, “Oh come ON now Rebecca, it’s not like THAT.” Or it’s fun to suddenly think, “Holy shit. She has a point and I HATE her for showing it to me.” She engages the brain. She makes that process FUN, somehow. (She also can be a laugh-out-loud funny writer, especially when she’s pointing out the absurdity of the arguments of the opposition.)

West’s whole essay on Emmeline Pankhurst should be read in its entirety, but I’ll quote from the bleak-ish summing-up paragraphs near the end. (And remember: West spent the movement in opposition to Pankhurst’s leadership, but this is not a hatchet piece. Far from it.)

West’s essay, and her thoughts, and creating a connection to this long-ago past is still important, maybe even more important, in today’s political environment when women’s worth/value as independent human beings is STILL, unbelievably, being argued about “in the room where it happens”. The fight’s not over.

Excerpt from The Young Rebecca: Writings of Rebecca West, 1911-17: “Reed of Steel”, by Rebecca West

It is all forgotten. We forget everything now. We have forgotten what came before the war. We have forgotten the war. There are so many newspapers so full of so much news, so many motor-cars, so many films, that image is superimposed on image and nothing is clearly seen. In an emptier age, which left more room for the essential, it would be remembered that Emmeline Pankhurst with all her limitations was glorious. Somehow, in her terse, austere way she was as physically glorious as Ellen Terry or Sarah Bernhardt. She was glorious in her physical courage, in her obstinacy, in her integrity. Her achievements have suffered in repute owing to the fashion of jeering at the parliamentary system. Women novelists who want to strike out a line as being specially broadminded declare they think we are no better for the vote; if they spent half an hour turning over pre-war newspapers and looking out references to women’s employment and legal and social status, they might come to a different opinion. Women who do not like working in offices and cannot get married write letters to the papers ascribing their plight to feminism. But even before women got the vote they had to work in offices, with the only difference that they received less money and worked under worse conditions, and then as now there existed no machinery to compel men to marry women they did not want. Few intelligent women in a position to compare the past with the present will deny that the vote brought with it substantial benefits of both a material and spiritual kind.

There were also incidental benefits arising out of the movement. The suffragettes’ indignant denunciation of the insanitary conditions in the jails meant an immense advance of public opinion regarding penal reform. In 1913 it suddenly came into Christabel Pankhurst’s head to write a series of articles regarding the prevalence of venereal disease. These were ill-informed and badly written, but they scattered like wind an age-long conspiracy of prudishness, and enabled society to own the existence of these diseases and set about exterminating them as had never been possible before. But Mrs. Pankhurst’s most valuable indirect contribution to her time was made in 1905; a dusty and obscure provincial, she sent in a threatening note to the Prime Minister, and spent the next years proving that the threat had thunder and lightning behind it. She thereby broke down the assumption of English politicians, which till then no legislative actions, no extensions of the franchise had been able to touch, that the only people who were politically important were those who were socially important; and all the democratic movements of her day shared in the benefits. It would be absurd to deny that the ultimate reason for the rise of the Labour Party was the devoted work of its adherents, but it would be equally absurd to deny that between 1905 and 1914 it found its path smoothed by an increasingly respectful attitude on the part of St. Stephen’s, the Press and the public.

But Mrs. Pankhurst’s chief and most poignant value to the historian will be her demonstration of what happens to a great human being of action in a transition period. She was the last popular leader to act on inspiration derived from the principles of the French Revolution; she put her body and soul at the service of Liberty, Equality and Fraternity, and earned a triumph for them. Then doubt seized her, as it was to seize a generation. In the midst of her battle for democracy she was obliged, lest that battle should be lost, to become a dictator. Later we were all to debate whether the sacrifice of principle could be justified in the case of Russia. She trembled under the strain of conflict, and perhaps she trembled also because she foresaw that she was to gain a victory, and then confront a mystery. She had always said and felt she wanted the vote to feed the hungry. Enfranchised, she found herself aware that economic revolution was infinitely more difficult and drastic than the fiercest political revolution. With her childlike honesty, her hate of pretentiousness, she failed to put up a good show to cover her perplexity. She spoke the truth – she owned she saw it better to camp among the ruins of capitalism than to push out into the uncharted desert. With her whole personality she enacted our perplexity, as earlier she had enacted our revolt, a priestess of the people.

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Gena Rowlands

Pay tribute.

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Gena Rowlands in “Opening Night” (1977)

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Review: Suffragette (2015)

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I did not care for it at all.

My review of Suffragette is now up at Rogerebert.com.

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Review: A Question of Love: 1978 TV Movie starring Gena Rowlands

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Alongside her film career, Gena Rowlands worked constantly in television (and this was true from her earliest days in the 1950s.) Her husband John Cassavetes also worked constantly in television and film, with key roles in (famously), The Dirty Dozen and Rosemary’s Baby, although there were more. The couple used their salaries to finance their independent films, independent films that completely changed the landscape of American film. So it was a two-track career for both of them, and it was both practical and idealistic. They were in sync on that. Rowlands has always been attracted to bold stories, brave stories, about human beings in conflict, human beings struggling to get what they need or deserve. She was nominated for two Best Actress Oscars, both under her husband’s direction (one for A Woman Under the Influence and one for Gloria), but she gave equally great performances in his other films, Faces, Minnie and Moskowitz, Opening Night, Love Streams.

But all along, Rowlands worked elsewhere. (David Thomson says in his entry on Rowlands in his Film Encyclopedia that, essentially, he felt it was a shame that Rowlands associated herself so much with her husband’s work because it kept her out of the running for other major roles. Malarkey. That represents a grave misunderstanding of what acting is all about, what an acting CAREER is all about, and how acting careers can take MANY different forms. I saw on Twitter a while back some article with the dumb headline along the lines of: “Why isn’t Rachel McAdams a movie star?” Anyone who writes like that, headline, OR article, does not understand how careers happen. They are mostly organic phenomenon. They are rarely micro-managed. You can’t MAKE someone a “movie star.” And besides, actors struggle so much in the beginning that for the most part when they get jobs they are bathed in relief because they remember the years of obscurity. You think the “grateful to be nominated” thing is bull shit? It’s not. Acting is HARD. And careers meander, peaks, valleys, especially those in it for the long haul. To assume that Rachel McAdams only wants to be, say, Julia Roberts, or some mega-watt movie star is ridiculous. Such words reveal more about what the critic values (mega-watt movie stardom) than the actress’ actual experience of her own career (I enjoy working with this director, let me try this now, what’s next, oh THIS is next …) McAdams gets good parts. She gets leads. She works with good directors. She’s having a career, you know? That’s her career. You may like her, you may not like her, but that’s irrelevant. Back to Thomson, his view of Rowlands’ work is similarly blinkered. I love his stuff, but when he’s off the mark, he’s WAY off.)

Rowlands’ television work was as bold and pioneering as her work with Cassavetes, although it took a more “issue of the week” format. She was not afraid. She was not self-congratulatory. She followed stories that interested her. And these were stories that were ahead of their time.

In 1979, she co-starred opposite Bette Davis (who was experiencing a very late career Renaissance, thanks to television) in the TV movie Strangers: The Story of a Mother and Daughter. Talk about an event. Rowlands was already a star, an Oscar-nominee, and had appeared in Cassavetes’ brilliant Opening Night just two years before. In Strangers, Rowlands plays a terminally ill woman who tries to mend her relationship with her bitter old-dame mom, played by Davis. Watching those two go toe to toe is absolutely exhilarating. (The whole thing is on Youtube, albeit cut up into 10 parts.)

In 1983, she appeared in Thursday’s Child, another television movie, this one about a child getting what was a new thing at the time, a heart transplant. I remember watching that one when it aired. Rowlands was nominated for a Golden Globe for her performance.

Then of course there was An Early Frost, a groundbreaking television film about AIDS, in 1985. An Early Frost came almost 10 years before Philadelphia. If you were alive then and aware, you will remember the furor around An Early Frost. It aired in the midst of the crisis, during an intensifying wider awareness of it, and it aired during Reagan’s presidency, whom, as we all know, never acknowledged publicly the plague ravaging HIS land. There was gigantic silence from Washington on the issue during this time, so the film was HUGE in portraying the problem, in portraying the disease in a human way, putting a human face onto it to those who didn’t know anyone who was afflicted, or who thought “well, who cares about those people, they aren’t ME.” An Early Frost confronted ALL of those prejudices. Rowlands is very proud of being associated with that film. Rowlands was nominated for a Golden Globe for her performance, and she was nominated for an Emmy as well.

In 1987 came The Betty Ford Story, where Gena Rowlands won the Golden Globe for her performance as the alcohol-and-drug-addicted first lady. Another huge television event, with a typically bold and fearless performance from Rowlands at the center.

There was the 1991 television movie Face of a Stranger, with Rowlands playing a widow, destitute upon her husband’s death due to his gambling debts. Rowlands won the Emmy for Best Actress for her performance.

In 1992, came Crazy in Love, with Holly Hunter, Bill Pullman, Frances McDormand, and Rowlands, about the relationships between men and women, ultimately. And again, Rowlands was nominated for a Golden Globe for her performance.

Grace and Glorie (1998) was a Hallmark Hall of Fame production, and also really good, and it focused on hospice care for the elderly and infirm. But it’s about relationships. As always it’s the human element of the story that attracts Rowlands. She’s not an activist. She’s a humanist.

Let’s backtrack though. In 1978, Rowlands appeared in the Emmy-nominated television movie A Question of Love. In it, Rowlands plays Linda Ray, a nurse, with two kids, and Linda is in a relationship with Barbara, played by Jane Alexander. It’s 1978, remember, so any superior-snickering about how enlightened we are now is 1. rude and ignorant as well as 2. dismissive and diminishing to the sacrifices/fears/reality of the generations who came before us. Rowlands’ kids are unaware that their mother is a lesbian. They think Barbara is just Mommy’s “friend.” But Rowlands’ elder son, who is a teenager, asks questions. Linda answers honestly. And the shit hits the fan.

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Linda’s ex-husband (played by Clu Gulager) sues for custody of the kids. Rowlands’ mother (played by Marlon Brando’s sister Jocelyn Brando) is mortified, incensed, embarrassed. What did she do wrong that her daughter is a “pervert”? Barbara and Linda try to get lawyers to represent them, but they’re turned down repeatedly. Everybody thinks the boy should be with his father. Rowlands is superb (and there’s one scene that could be the best work she’s ever done.) Ned Beatty appears as the lawyer for the ex-husband and he is (of course) excellent.

A Question of Love treats the sexual orientation of Linda and Barbara as a matter-of-fact issue, casual and everyday. We see them ironing, arguing, discussing things late at night. Their sexuality is treated in a “Whatevs” kind of way, pretty radical for 1978. The opening scene shows the happy family, Linda, Ray, and the two kids, moving to a new house, driving there in a truck loaded down with possessions, all of them singing “99 Bottles of Beer on the Wall.” It’s a beautiful and casual portrayal of a gay relationship, and it’s honest about the fact that Linda was always a lesbian. She had thought her marriage to her husband would last forever, of course she did. But after the divorce, she met Barbara. And they loved each other. As she tries to explain to her embarrassed teenage son, “Barbara and I … care for each other.”

Wrenching, honest, and raw, A Question of Love was nominated for a Golden Globe for Best Motion Picture Made for TV. It holds up. And it shows why Gena Rowlands is the actress that she is.

The whole thing is on Youtube, so I wanted to point you that way, in case you’re interested.

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Gena

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Furry Lewis and Leon Russell: Achingly Beautiful

The last couple of days have been so jam-packed with writing and good news that my head is spinning. Yesterday, after writing my “Suffragette” review for Ebert (it’ll be up today or tomorrow), I decided to spend some time on Youtube, clicking around for old blues singers.

I came across this extraordinary clip of the amazing Furry Lewis, singing three songs, cigarette dangling, with Leon Russell accompanying him. Those guitars. The drive of them, the convergence of the two sounds, and the intimate setting. Plus a close-up of one of the most beautiful women who has ever lived, Claudia Lennear. YES. (The whole concert is up, in snippets, on Youtube, but it is this one that grabbed my attention.)

The one-legged Furry Lewis was one of those blues guys who played and recorded in the 1920s and 30s, with his own sound, his own style, before descending into obscurity for decades. He lived in Memphis all that time, working for the sanitation department, and playing for change on Beale Street. A familiar figure around town. Without proper archiving, radio play, many of these guys were lost to history. If you wanted to listen to them, you’d have to come across an old 45 in a second-hand record store (or go to Beale Street and wait for Furry to sit down on his corner and start it up). Many people collected records in this haphazard way (Elvis Presley being one of them, who got familiar with all of these old blues guys when he was still a teenager.) But then something amazing happened in the 1960s (although it started in the 50s, with the explosion of rock ‘n’ roll, much of it inspired by that old rhythm and blues, mixed with gospel, country/western, and pop). But in the 1960s, with of the rise of American folk music (before it became politicized), there was a deep interest growing in the continuum of American culture and folklore, the roots from which it sprung. Furry Lewis’ star began to rise again. Alan Lomax was an archivist, scholar, musicologist, working for the Library of Congress under the auspices of the American Archive of Folk Music, and Lomax traveled around the South (and all over the world, actually), seeking out all of the people from the 1920s and 30s, to get them on tape, to interview them, to highlight their contributions, hear from them. Because of that, their profiles became larger than they ever were in the 20s, before that kind of national attention was even possible. (Even if you got radio play, the transmission of said radio shows were mostly local. It wasn’t until WWII when radio technology developed to a degree that those on the radio in Memphis could be heard by folks in Alaska. That was one of the many things that contributed by the Elvis Explosion. Anyway, back to Furry.)

Furry Lewis started touring again, opening for the current acts of the day. Leon Russell was one of the people who had always been so inspired by Furry Lewis’ old stuff, and so he asked Furry to tour with him and open for him. This introduced Furry Lewis to a whole new generation of audience.

There are a couple of really worthwhile portraits of Furry Lewis. One is Stanley Booth’s chapter devoted to Lewis in his seminal book Rythm Oil: A Journey Through the Music of the American South. Here’s an excerpt from the chapter on Furry Lewis. The other book which gives awesome background/context on Furry Lewis, plus a picture of who he was in the 60s to Memphis, his local stature, his omnipresence, is Robert Gordon’s WONDERFUL book It Came From Memphis. I just read that one last year and it blew me away. Gordon lives in Memphis, grew up there, is still there, and the book is an attempt to talk about the music scene in Memphis (always vibrant), WITHOUT focusing on Elvis. Similar to the other sometimes-fine playwrights writing in Shakespeare’s day, or the other Irish novelists publishing books at the same time as James Joyce, you have to get Elvis out of the way in order to perceive what else was going on. It Came From Memphis is about everything that went on AROUND Elvis, and, even better, continues on through the 60s, 70s, 80s. I mean, come on, Big Star and Alex Chilton. The Mar-Keys. William Eggleston. Too many musicians and artists to count. It Came From Memphis is both memoir and musical history.

But watch Furry Lewis in the clip above. And listen to the strains of Leon Russell throughout. A melding of past and present, a convergence of cultural influences, an acknowledgment from Leon Russell (unspoken, but it’s in his music) that his own career would not have been possible without guys like Furry Lewis.

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Interview with Corneliu Porumboiu: “In Romania the last 10 years there have been a lot of movies that have come out of here. I think it’s a great generation of directors.”

Corneliu Porumboiu is one of my favorite directors coming out of what is known as The Romanian New Wave. Anyone who has been watching knows that something is going ON in Romania right now, cinematically.

Porumboiu’s first feature was the marvelous and hilarious and cynical-as-hell 12:08 East of Bucharest (my review here), a real attention-getter in terms of the script, the WAY it was shot (the majority of it takes place in a tiny rat-trap cable-access television studio, and then we watch the cable-access show proceed, in all its absurdity), and the frank dealing with the Romanian experience of the fall of communism. Must-see.

His next feature was Police Adjective, a genre picture, a cop picture, but also with that sharp sharp social commentary on Romania’s drug laws. Also a must-see.

Then there came 2013’s When Evening Falls on Bucharest or Metabolism (my review here), which I fell in love with. It’s very very meta (there’s usually some meta quality in Porumboiu’s work), about a film director having an affair with his lead actress while they are working on a film. It’s all about the visuals, the center and the periphery. All done in a series of long long takes where the camera never moves. Another attention-getter.

Porumboiu writes all of these films, too, so each one is extremely personal in different ways.

Other film-makers to watch coming out of Romania are Andrei Ujică whose 3-hour The Autobiography of Nicolae Ceaușescu, made up entirely of extant footage of the hated and executed Stalinist former leader of Romania, has to be seen to be believed.

Then there’s Calin Peter Netzer, whose Child’s Pose won accolades around the world, and rightly so. An extraordinary performance from the lead actress, Luminita Gheorghiu. I reviewed for Roger Ebert.

There’s Cristi Puiu, whose film The Death of Mr. Lazarescu is essential. It was one of the first major films to emerge from Romania post-Communism.

And then there’s the brilliant Cristian Mungiu, whose films get major play (at least in the United States). The harrowing “Four Months, Three Weeks, Two Days (please see it!), and the even more harrowing Beyond the Hills my review here, which I put on my Top 10 List for that year. During the course of that long slow film, I felt more claustrophobic than I’ve felt in a theatre in a long time. I was desperate for release, for myself, and for the characters. So upsetting I had to take a long walk to shake it off. Don’t miss that one either. (And maybe wait to read my review after you’ve seen it. Just know that the film is very long, with a deathly slow pace, and again the camera rarely moves. Succumb to the pacing because that’s where the guts of the film, its effectiveness, lies).

This is a MAJOR film industry, producing directors with unique and personal visions, all that mix politics and social commentary, plus an awareness of the ravages of decades of Communism that decimated their country. These films attempt to deal with the aftermath.

Corneliu Porumboiu has a new film out called The Treasure which is making the festival rounds currently and I can’t wait to see it. Patrick McGavin from Rogerebert.com interviewed Porumboiu after seeing the film at the Chicago International Film Festival. It’s a wonderful interview, with some great insights by Porumboiu, not only about his film and his own style, but about his generation of film-makers, all of the ones I just mentioned, who are all about the same age (which is even more telling). They started exploding in the 90s, as they came to maturity. As Romania started slowly to open up to the world they had been barricaded away from by the monstrous Ceaușescu.

There’s so much going on there it’s hard to keep up, but I always get excited when I hear one of these guys has produced something new.

Again, here’s the link to McGavin’s interview with Porumboiu.

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