Gloria

Jack Dawn has let slip to his mob employers that he has kept a book of all transactions. Jeri Dawn has just seen some men lingering in the lobby downstairs. Together they realise that the hit has come and they start to try to leave. They give their youngest son, Phil, to neighbour Gloria to offer some hope for him – although before leaving, Jack gives him his account ledger as protection. The mob slaughter the Dawn family but Phil and Gloria get away; however, with the information in their possession, Gloria soon finds that the mob still want the book back and the kid dead – will Gloria's former relationship with members of the mob help or hinder her? With so many good things generally said about this film, I thought I'd better give it a go despite already having seen the remake. The good things about it are generally true – it is quite engaging, Rowlands is pretty good and it is a bit tense. However I couldn't help but feel that the strengths were more than cancelled out by the weaknesses, not making it a bad film but making it only an OK one. The plot is gripping enough and has been redone several times since this film but somehow it doesn't always ring true – and this criticism can be carried across to the lead character. Would she really greet each mobster with spits of "punk" etc and always be pulling a gun, perhaps in fear she would but here she looks like she is in control. In terms of her character, she is harsh to the kid but yet never shows the growing affection that we assume must be the reason she cannot bring herself to do the wrong thing and hand over the kid. She shows it right at the end but it is too late to be convincing by then.

This is not to take away from her performance, because it is strong, but it is not convincing as a person. Cassavetes has crafted a tough female but has done so to the point where she seems a few steps off being the Terminator. Adames may well be trying his best but he is annoying and his character was totally absent – again not helped by the fact his material doesn't sound anything like a real person; contrast him with Portman in Leon and you'll see what a negative impact he had on the film. The mobsters are all Italian goons of the classic stereotype and they add nothing to the film in the way of actual menace. Cassavetes has done the job as director though and the film is quite tense while also capturing the city of New York of the time very well in regards atmosphere and grit.

Overall this is an OK film with an OK plot that is OK if you can get passed how unconvincing it all is. However it is no classic and the weaknesses and problems are difficult to ignore. Worth watching and perhaps better if you have low expectations but it is certainly anything like as good as its awards, names and reputation suggests that it will be.

Good movies are timeless. Or they feel so. Sometimes this is because their subject is universal and it does not really matter what epoch the action is set in. In some other cases the quality of the story and of the acting make the period irrelevant. A good example is 'Gloria', a film made in 1980 by director (and actor) John Cassavetes about whom I knew very little before seeing this film. And yet, 'Gloria' is a gangster movies that keeps the interest of viewers all over the two hours of screen time and looks new and fresh, despite having been filmed almost 40 years ago.

The subject of the film will look familiar, as later movies like Luc Besson's 'Léon' have dealt with the theme of gangsters involved folks meeting and befriending kids, and melting to humanity in the course of the story. 'Gloria' however included from start a big twist. The lead adult hero is a woman, the ex-girlfriend of one of the mob chiefs, who witnesses the murder of the family of a six years old kid (her neighbor) who has nobody left to care about him and no place to go. Taking him under her protection means placing her in conflict with the mob (as the kid holds an accounting book with compromising mafia secrets) and with the law (she is believed to have kidnapped the kid). What follows is a few days of running from everybody and fighting for survival in the New York of 1980.

The New York in the film is a city that looks so familiar: the streets (much dirtier and more dangerous), the buildings (combining modern and decrepit), the skyline (with the painful silhouettes of the twin towers), the people who look so much the same as the diverse human landscape of the big city we know. The only major thing that seems to have changed is the value of the dollar. It may be as difficult as 40 years ago to change a 100 dollars bill, but two dollars fifty cents would not be sufficient nowadays for any room in a city hotel, probably not even for a tip in any city hotel. The other ingredient that makes the film interesting is the excellent acting performance of Gena Rowlands who partners with the young John Adames, a kid actor who did not grow into an adult actor. She is vulnerable as a woman who does not like kids (her cat is collateral damage in the first minutes of the film) and has a troubled past, yet strong as she knows the language and manners of the crime world and how to survive it. The ending is a little disappointing, unexpectedly conventional for such a film that is so non-conventional from many points of view, but this does not spoil too much the good impression left by this fresh classic.

There must be a million woman like Gloria. They never got educated but they're smart. They're good looking, but not enough to get that gangster boyfriend to leave his wife. They hostess or maybe they just are table dressing for as long as they can. They make enough to have a decent apartment, and they hock the gift jewelry and furs and stick the money in a safe deposit box for the day they just can't do it any more. Can't smile and nod and be sweet, and the goombas look to the younger girls for attention. They try to keep quiet and keep their nose clean and ignore the young punks that treat them a little worse every year.

But life can mess up your plans, as it does for Gloria when it dumps an orphaned kid in her lap and some of her p***ed gangster pals at her door. And the decision she makes to save the kid's life means she can never go back.

"Gloria" isn't really about stuff like violence or mobsters or guns at all. It's about the hopes and wishes and loneliness of a life that represents the lives of many invisible woman. Gloria has always been a "broad" as she says. Never the Madonna, to be worshipped and respected. Always the Whore to be stepped on. And it sucks to be at the mercy and whim of men. Especially cruel, stupid thugs who don't have the brains or guts to do anything but lie, cheat, steal, and kill women and children.

Gloria reluctantly gives up her old life. She gave years of her life to these slobs and she doesn't want to lose the little she got for her troubles. She just wants peace and quiet and to be left alone. Why give it up to help some annoying kid?

But when she makes the decision to do just that, her rage and resentment explode.

Gena Rowlands gives a flawless performance that burns bright and makes the viewer feel the rage of those who hide their intelligence and personality and try to "get by" in a world of lesser men. Gloria's got more balls and brains than any of the suits that run the racket. And now she's going to prove it.

"Gloria" is what happens when adults make movies for adults. No childish chatter, no idealized and airbrushed world, no moralizing and preaching. This movie has blood in its veins.

From its buildings, to its busy streets. From the people in the city, to the culture that created it, John Cassavetes perfectly captures the true essence of NYC. The true grit of the city, the core of the apple. The setting of the film is real. Unlike the remake almost twenty years later, NYC does not look like a commercial Disney Land without Mickey. Watching the film, you can smell the dirty hallways in the lower middle class hotels. You can hear the crowded Hispanic neighborhoods. And you can see what NYC is really like in Gloria.

A genre-bending odyssey, full of dank, dark alleys, filthy side streets, buses, taxi cabs, trains and subways, John Cassavetes' film "Gloria" is perhaps the most impersonal of his personal work, which surely inspired Luc Besson's 1994 action-packed "Leon," the film explores the development of the mother-son bond under extreme circumstances.

One of Gena Rowland's most underrated performances, Gloria stands shoulder to shoulder with other iconic heroines of American cinema; such as Dietrich's Shanghai Lily and Uma Thurman's Beatrix Kiddo.

Cassavetes explores new narrative possibilities unlike any other of his contemporaries. Though there always seems to be a surplus of emotion, dialogue or trivialities in his work - and I'm not the first to make such an observation - Cassavetes maintains his focus, which is of course, to show us a slice of life, however extreme or crazy it may appear to an audience.