The Third Marathon Stars Blogathon —The Films of Gena Rowlands

I couldn’t be more thrilled to assist my dear classic film friends Virginie and Crystal in bringing back one of my favorite blogathons that I’ve ever been a part of: The Marathon Stars Blogathon! In this unique concept returning this year for a third time, bloggers were tasked with choosing a movie star whom they were previously unaware of and had to watch a marathon of at least five of his or her films. Back in 2019, I discovered the delightful Pier Angeli, whom I had previously only seen in only one film, and learned so much about her incredible career beyond her offscreen ties with the likes of James Dean and Vic Damone. This year, I knew that I wanted to uncover the work of one of the 125 actresses appearing in the upcoming cookbook that I’m writing, which chronicles the history of women in film through their recipes. In the book, I hope to include movie recommendations for each actress along with a recipe of hers, which leaves me a lot to find and watch in terms of women onscreen. Of the 125 actresses that I plan to cover, there are actually several that I’ve seen in fewer than three films, yet still believe were influential enough to cinema to be included in the book.

While working on some recipes featuring actresses that would be included in the 1960s section of the book, I noticed that shockingly, I had only seen two films featuring Gena Rowlands, one of the greatest actresses still with us: her iconic The Notebook (2004), and most recently, Faces (1968). Years ago, I had also attempted to watch Gena Rowlands in A Woman Under the Influence (1974), which would technically make three. However, I was so deeply moved by her performance and was reminded so much of my own mother and the hardships she faced while watching that I was too emotional to finish the film. I was then inspired to write a letter to Miss Rowlands explaining this and thanking her for her career and for bringing light to such real issues, a letter which Gena herself graciously replied to. Given my history with such an iconic star, I knew that she would be the perfect lady to educate myself about for this blogathon, and I couldn’t be more glad that I chose to spotlight Gena, who made every movie she appeared in from the highest profile drama to the lowest budget independent sparkle with her allure, poise, and gritty delivery.

A Child is Waiting (1963)

Unless you count her uncredited cameo in Shadows (1959), the first film that I discovered of Gena Rowlands for the blogathon was also the first of ten films in which she collaborated with her writer-director-producer husband John Cassavetes: A Child is Waiting (1963). The film stars Judy Garland in one of her final performances as Jean Hansen, an aspiring music teacher at a school for disabled children. As she adjusts to the school’s practices and learns about the students in her care, she develops an attachment to Reuben Widdicombe (Bruce Ritchey), an autistic child who struggles to adapt to the school and participate in his lessons due to his parents’ lack of involvement in his life. Gena Rowlands emotionally portrays Sophie Widdicombe, Reuben’s mother who has trouble navigating her son’s disability and the divorce with his father that occurred as a result. Jean and the director of the school, Dr. Matthew Clark (Burt Lancaster), become at odds with one another as their disagreements regarding Reuben’s schooling and discipline reach a boiling point.

Though Gena only has a few scenes in A Child is Waiting (1963), she perfectly embodies the part of a torn and concerned mother. This film shines a light not only on the progressions of child psychology during the 1960s, but also on its shortcomings during such a transitional period in the history of mental health. While it’s easy to understand many of the themes presented such as the dangers of favoriting a single child in a group and what a struggling child can accomplish with love and support, the movie doesn’t solve all of the conflicts it creates. We essentially see Sophie portrayed as the kinder of Reuben’s two parents as his father wishes he weren’t even alive, yet Sophie virtually abandons Reuben at the school herself, not realizing how vital her presence is to her son’s success. While we learn that the school is the best place for him and we see a positive influence from Reuben’s father on his life at the end, the same satisfying conclusion is certainly lacking from Sophie. Are we to assume that she remains out of Reuben’s life while Reuben’s father attempts to correct his mistakes? While I adored all of Gena Rowlands’ scenes and found this movie heartwarming and beautifully captured, I wish Rowlands had been able to appear just a little more onscreen and that Sophie as a mother could have also come to the aid of her child.

Tony Rome (1967)

In the interest of making my marathon as varied as possible while still including as many “Old Hollywood” flicks as I could, I knew that Tony Rome (1967) would make for the next perfect Gena Rowlands movie to watch. In it, Rowlands stars opposite a titanic cast, including Sue Lyon, Jill St. John, and of course Frank Sinatra, who portrays the titular role of Tony Rome, a washed up private investigator in Miami who has been tasked by a hotel with assisting Diana, a young woman who has been found unconscious there. Upon returning Diana to her wealthy father, Tony learns that a diamond pin which was on Diana’s person the night before has since gone missing. Tony is begrudgingly hired by several members of the family to locate the pin and the mystery grows deeper and deeper as each member of the family holds their own secrets and motives regarding the pin.

Gena Rowlands plays Rita Kosterman, Diana’s stepmother who is constantly mentioned throughout the film and weighs heavily on the plot, yet unfortunately she is only shown in a few scenes. Rowlands is given gorgeous costumes to wear and plenty to do, however, and we uncover (spoiler) that Rita is secretly behind the diamond pin being replaced with a fake and that she is involved in a deep web of blackmail all caused by her ex-husband. This culminates in a volatile scene with Sinatra that’s just sizzling to watch! All in all, Tony Rome (1967) echoes so many of the carefree and effortlessly cool crime caper films of the late 1960s, particularly the Matt Helm series helmed by Dean Martin in films like The Wrecking Crew (1968), and even inspired a sequel, Lady in Cement (1968), in which Gena Rowlands is swapped out for the steamy Raquel Welch. While the latter is certainly less serious, both have that zany Rat Pack whodunnit energy, and I only wish Gena could have shown off more of her incredible onscreen allure in this one.

Opening Night (1977)

In my quest to watch several of Gena Rowlands most iconic films, I followed up the fun Frank Sinatra classic with what I now believe is perhaps Gena Rowlands and John Cassavetes’ most essential pairing: Opening Night (1977). In it, Rowlands plays fading stage starlet Myrtle Gordon, who is rehearsing a play that she struggles to relate to at this stage in her life. Her drinking problems and issues with the script are exacerbated after she witnesses one of her obsessive teenage fans get struck and killed by a car in an attempt to meet her. After the incident Myrtle begins to see apparitions of the fan, which she then channels into her performance, much to the detriment of her mental health. She begins veering off track in her rehearsals as well as in her personal life, and those surrounding Myrtle begin to question the collision course that she has set herself on and her ability to perform once the curtain goes up.

I recently learned following my viewing of this film that John Cassavetes gave a television interview in 1978 citing Opening Night (1977) as the finest feature that he had anything to do with. While I may not fully agree with his summation in comparison to films of his I admire both onscreen and off such as Rosemary’s Baby (1968), this is without a doubt the greatest acting I’ve seen Gena Rowlands and John Cassavetes do onscreen as a pair. The two are so natural and much of their dialogue feels ad-libbed, which only adds to the film’s genius. Gena brings such complex emotion and intense tenacity to her role, addressing aging and fading stardom in a story that only becomes more relevant when told by an actress of Rowlands’ caliber with her studio system credentials. I even loved her callback to Old Hollywood and aging summed together perfectly in one line, when she asks, “Am I starting to look like Humphrey Bogart to you?”

Gloria (1980)

As I neared the end of my Gena Rowlands marathon, I knew that I would be doing the legendary actress an injustice if I did not take this opportunity to discover her in her final Oscar-nominated performance in the titular part of Gloria (1980). The movie begins in the apartment of a family in a frantic state of crisis as it’s discovered that the patriarch Jack Dawn (Buck Henry) is an accountant for the mob and has been skimming funds off the top for the FBI. The mob swiftly takes justice into their own hands and kills him along with his wife and daughter, yet his son Phil (John Adames) escapes unharmed as Jack entrusts him with the book containing the mob’s financial accounts and thrusts him upon their neighbor Gloria Swenson (a callback to Gloria Swanson). It turns out that Gloria previously had her own ties to this same mob and both she and Phil go on the run as the crooks are hot on their trail for both the child and the book. As Gloria and Phil face a series of increasingly dangerous situations, Gloria displays a level of toughness that could only be reminiscent of Humphrey Bogart and James Cagney’s finest gangster pictures and noirs, and Phil experiences a coming of age as the two form an unlikely bond.

I certainly never expected a film from 1980 to remind me so heavily of the gritty genres of yesteryear, especially led by one of the strongest female leads in the form of Gena Rowlands, but that is precisely what Gloria (1980) brings to the table. At over two hours this movie runs quite long for its easily digestible plot, and I have to admit that most child actors aren’t able to bring enough to the screen for my liking and John Adames is no exception even though he beat out over 300 other boys for the role. In fact, Adames won the first ever Worst Supporting Actor Razzie Award for this performance, but for every scene of his that falls flat, we have Gena Rowlands bringing everything she possibly can to her role. She maintains the courage of ten Mitchums or Ladds as she fires at the mob’s car dressed immaculately in pumps and gigantic sunglasses, also bringing some truly relatable moments as a late 20-something not yet ready for parenthood. In my opinion, Gena did everything she could possibly do and more here to deserve an Academy Award. Darn you, Sissy Spacek!

The Skeleton Key (2005)

It was so difficult to choose a final Gena Rowlands film to watch! With over a hundred works to her credit and a career that spans nearly seven decades, there was certainly a great deal to choose from, but I decided that my final movie would be a great opportunity to highlight a later work of Gena’s, giving me not only the chance to review a horror film, which is rare for the blog, but also to check out by far the most recent movie I’ve ever covered! The Skeleton Key (2005), Rowlands follow-up feature after making The Notebook (2004), showcases Kate Hudson in her prime as she portrays Caroline Ellis, a caretaker for the elderly who has quit an unfeeling hospice in favor of live-in caregiving work in New Orleans. She moves in with Violet Deveraux (Gena Rowlands) and her husband Ben (John Hurt), who has suffered a stroke that has rendered him unable to talk or move. Caroline tries her best to give personal care to Ben as she uncovers the secrets of their historic home and the horrific stories that lie within its walls, but she soon uncovers more information than meets the eye about Ben’s condition, information that could threaten her life.

I could not be more thrilled that I chose this as a final sendoff to my Gena Rowlands marathon. Rowlands brings such complexity and genuine fear to her role that I almost prefer it to some of her earlier studio system works in which she isn’t given nearly as much screen time or the opportunity to dabble in other intriguing genres such as horror. Yes, she may take a bit of a backseat to Kate Hudson and even John Hurt in his scenes, but Gena absolutely holds her own throughout the entire picture, particularly in the third act. There were some fairly tame jump scares as I expected from any horror film of this time period, as well as what seems at first a pretty generic hoodoo plot (not voodoo, there’s a difference as I learned from the film!), but every aspect of this movie that could be considered basic is followed up by some truly gripping twists and turns. I didn’t expect any of this movie’s surprises, and my jaw was on the floor by the end. I would go as far as to say that it’s the perfect role that Gena Rowlands could have taken on at this point in her career, and from what I’ve seen, it’s simply one of her best.

Final Thoughts

The most recent picture shared of Gena Rowlands, still gracing us with her unbelievable beauty and presence!

I’m genuinely a little melancholy that my salute to Gena Rowlands has come to a close. I’ve had such a wonderful time exploring her incredible body of work over the last couple of months, journeying through nearly fifty years of cinema alongside one of the most talented actresses to ever grace the screen. After watching the first few films of Gena’s that had come across my radar, I knew that her talent was worthy of representing the finest actresses of the 1960s in my cookbook, but now that I’ve binged a much greater variety of her work, I know that Gena Rowlands’ onscreen abilities transcend one single decade. Gena Rowlands perfectly embodies the transition of women in cinema all on her own, beginning her career immaculately dressed in ingenue roles of the late studio era, then making historic contributions to the counter-culture and independent film movements alongside husband and filmmaker John Cassavetes, and at the end of her career? Gena Rowlands made whatever the hell she wanted to and proved that she could take on any role in any genre. And she’s still with us to tell her story!

This will certainly not be the last I see of her movies, and this marathon is only the beginning of my Gena Rowlands journey. I’d like to thank Virginie and Crystal once again for dutifully co-hosting this epic blogathon with me, and I’d especially like to thank all of our participants who also chose and marathoned an actor! I hope you’ve all discovered some amazing movies and stars!