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	<title>Alternative Film Guide &#187; Gena Rowlands</title>
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	<description>thinking film</description>
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		<title>THE LIMEY II &#8211; Terence Stamp</title>
		<link>http://www.altfg.com/blog/film-reviews/the-limey-terence-stamp-peter-fonda/</link>
		<comments>http://www.altfg.com/blog/film-reviews/the-limey-terence-stamp-peter-fonda/#comments</comments>
		<pubDate>Mon, 04 May 2009 18:04:33 +0000</pubDate>
		<dc:creator>Dan Schneider</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Alain Resnais]]></category>
		<category><![CDATA[Amelia Heinle]]></category>
		<category><![CDATA[Barry Newman]]></category>
		<category><![CDATA[DVDs]]></category>
		<category><![CDATA[Gena Rowlands]]></category>
		<category><![CDATA[Jacques Tourneur]]></category>
		<category><![CDATA[Joe Dallesandro]]></category>
		<category><![CDATA[Lem Dobbs]]></category>
		<category><![CDATA[Lesley Ann Warren]]></category>
		<category><![CDATA[Luis Guzmán]]></category>
		<category><![CDATA[Melissa George]]></category>
		<category><![CDATA[Michelangelo Antonioni]]></category>
		<category><![CDATA[Nicky Katt]]></category>
		<category><![CDATA[Peter Fonda]]></category>
		<category><![CDATA[Psychological Drama]]></category>
		<category><![CDATA[Robert Wise]]></category>
		<category><![CDATA[Samuel Fuller]]></category>
		<category><![CDATA[Steven Soderbergh]]></category>
		<category><![CDATA[Terence Stamp]]></category>
		<category><![CDATA[The Limey]]></category>
		<category><![CDATA[Thrillers]]></category>
		<category><![CDATA[Woody Allen]]></category>

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THE LIMEY &#8211; Part I
Aside from memory, there are superbly rendered details that distill the characters: Wilson radiates  affection for Eduardo’s help in tracking down Valentine by fondly calling him  Sancho (as in Panza). All of these things &#8212; along with Eduardo’s and Elaine’s  motivations, and the portrayal of the relationship between the hitmen &#8212; work well. In fact, they work so well  precisely because there are no specifics, but generalities sharply   etched so that the viewer ‘feels,’ as well as understands, the motivations  and relationships. That allows the viewer to feel what goes on inside Wilson, thus creating a stronger identification with him than would be  gotten were all things laid [...]]]></description>
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		<title>A WOMAN UNDER THE INFLUENCE d: John Cassavetes</title>
		<link>http://www.altfg.com/blog/film-reviews/woman-under-the-influence-john-cassavetes/</link>
		<comments>http://www.altfg.com/blog/film-reviews/woman-under-the-influence-john-cassavetes/#comments</comments>
		<pubDate>Sat, 16 Oct 2004 06:30:54 +0000</pubDate>
		<dc:creator>Andre Soares</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[A Woman Under the Influence]]></category>
		<category><![CDATA[Gena Rowlands]]></category>
		<category><![CDATA[John Cassavetes]]></category>
		<category><![CDATA[Katherine Cassavetes]]></category>
		<category><![CDATA[Oscar 1974]]></category>
		<category><![CDATA[Oscar Movies]]></category>
		<category><![CDATA[Peter Falk]]></category>

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A Woman Under the Influence (1974)
Direction and screenplay: John Cassavetes
Cast: Gena Rowlands, Peter Falk, Fred Draper, Lady Rowlands, Katherine Cassavetes, Eddie Shaw
&#160;

Peter Falk, Gena Rowlands in A Woman Under the Influence

&#160;
IT&#8217;S A MAD, MAD, MAD, MAD WIFE
Steven Spielberg is a respected film director. Many will even call him an auteur. When you watch a Spielberg film, you know it&#8217;s a Spielberg film &#8212; or at least one made by his myriad imitators. John Cassavetes is a respected film director. No one will deny the fact that Cassavetes is a film auteur. When you watch a Cassavetes film, you know it&#8217;s a Cassavetes film &#8212; or at least a Henry Jaglom imitation of a Cassavetes film. 
Now, apart from self-important works [...]]]></description>
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		<title>FACES d: John Cassavetes</title>
		<link>http://www.altfg.com/blog/film-reviews/faces-john-cassavetes-marley-rowlands/</link>
		<comments>http://www.altfg.com/blog/film-reviews/faces-john-cassavetes-marley-rowlands/#comments</comments>
		<pubDate>Wed, 29 Sep 2004 23:14:28 +0000</pubDate>
		<dc:creator>Andre Soares</dc:creator>
				<category><![CDATA[Film Reviews]]></category>
		<category><![CDATA[Classic Movies]]></category>
		<category><![CDATA[Faces]]></category>
		<category><![CDATA[Gena Rowlands]]></category>
		<category><![CDATA[John Cassavetes]]></category>
		<category><![CDATA[John Marley]]></category>
		<category><![CDATA[Lynn Carlin]]></category>
		<category><![CDATA[Oscar 1968]]></category>
		<category><![CDATA[Oscar Movies]]></category>
		<category><![CDATA[Seymour Cassel]]></category>

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Faces (1968)
Direction and screenplay: John Cassavetes
Cast: John Marley, Gena Rowlands, Lynn Carlin, Fred Draper, Seymour Cassel, Val Avery

&#160;

&#160;
John Cassavetes reportedly threw the money he made with the 1968 horror hit Rosemary&#8217;s Baby into his finishing touches on Faces, a personal project he had begun filming in 1966. Cassavetes spent months (some sources say a couple of years) editing the film into a &#34;manageable&#34; six hours, and eventually into its final 130 minutes.
Silent-film maverick Erich von Stroheim would have been proud of him &#8212; at least in regard to the film&#8217;s (initial) length and to Cassavetes&#8217; committed auteurship. Now, would the irascible Stroheim have approved of the frequently inaudible dialogue, sloppy editing, poor lighting, careless camera placement, and faux-naturalistic acting? Probably [...]]]></description>
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