Glória

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.

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.

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.

I have not seen the remake of GLORIA yet, and needless to say, I'm not looking forward to it. Not to say that Sharon Stone can't play a tough female, who's self-imposed as a bodyguard for a kid running from mobsters. It is just that Gena Rowlands is so much more versatile, and her range so much wider, and I just KNOW that Stone won't be able to cut it. So, I will stop speculating, and get to the facts.

GLORIA is a film that Cassavete's made as an antidote to brainless, violent action films. All of the violence has dramatic purpose, and nothing is pointless here. This may be off-putting to fans of the action genre, but Cassavetes' contempt for the genre is what makes GLORIA more interesting. There are several unexpected twists.

When the film begins, Gloria is a street-smart woman who is kind of "married" to the mob. Gloria has a tomboyish quality that lends credibility to the fact that she has lived this long. She looks out for herself, first and foremost.

This changes when a weasel, and friend,of Gloria's (Buck Henry) is murdered by her mobster friends. Henry and his wife are killed, leaving behind a scared child. The little boy is a witness to the murder, and the mobsters make chase.

Gloria feels her maternal instincts begin to take over, and begrudgingly protects the boy. As the film progresses, however, she becomes more sincere in her protection, and she draws the line further for the mobsters. She has survived in the harsh city for this long, so it is easy to assume that she knows how to stay alive.

GLORIA is by no means Cassavete best film. There are long stretches that test your patience, that can sometimes seem static. But, as much as I dislike this quality, I am familiar with several Cassavetes' films, and understand what he is trying to achieve. Cassavetes is a very emotional director. He doesn't focus on tragedy; he is more interested in survival and the baggage that that brings. GLORIA is a thinking-person's thriller, and if you prefer big explosions and high body-counts, go and see DIE HARD 2 again. But, if you want to see something different, check this one out.

This is one of my favorite movies of all times. Gena Rowlands is a powerhouse actor in this gutsy film about survival, courage and compassion set in the fast-paced, gritty New York City of the 70s. The acting all-around is exceptional. The film is riveting from beginning to end. You get swept up in Gloria's dilemma right away. The scene where she has to decide whether to save herself and turn the kid over to his assassins is very believable as you can see and feel how desperate one would be in such a dire situation. Another great scene is at a Penn Station coffee shop where she confronts the stalking mobsters at a nearby table. You can hear a pin drop in that restaurant as she stands there saying, "I'm Gloria. My hand is on my gun in my purse!" Yet another great scene is the crowded subway where she literally throws punches with one of the mobsters who has caught up with her. Everyone in that graffiti-laden subway car presses against the walls trying to get away when Gloria pulls her gun. She says as she gets off: "Ya punk! Ya Punk. Ya let a sissy beat you, huh? You punk! Go ahead, punk!." Then the subway car closes and she and the kid get away yet again. So, get lots of popcorn, turn off the phones and curl up in bed with the lights off for this one!