Gloria (1980 film)
1980 film by John Cassavetes
Gloria is a 1980 American neo-noir crime thriller film written and directed by John Cassavetes. It tells the story of a gangster's former girlfriend who goes on the run with a young boy who is being hunted by the mob for information he may or may not have. It stars Gena Rowlands, Julie Carmen, Buck Henry, and John Adames.
The film had its world premiere at the 37th Venice International Film Festival, winning the Golden Lion, the festival's top prize, in a tie with "Atlantic City" by Louis Malle.
Plot.
In New York City, in the South Bronx, Jeri Dawn is heading home with groceries. Inside the lobby of her apartment building, she passes a man whose dress and appearance are out of place. The woman quickly boards the elevator.
She is met in her apartment by her husband Jack Dawn, an accountant for a New York City mob family. There is a contract on Jack and his family, as he has been acting as an informant for the FBI. Suddenly, the family's neighbor, Gloria Swenson, rings their doorbell, asking to borrow some coffee. Jeri tells Gloria there is an impending hit on her family and implores Gloria to protect her children. Gloria, formerly a mobster's girlfriend, tells Jeri that she doesn't like kids but begrudgingly agrees. The Dawns' daughter Joan refuses to leave and locks herself in the bathroom. While the family attempts to get Joan, Gloria takes their young son Phil, and an incriminating accounts ledger, to her apartment, narrowly missing the hit squad.
After hearing loud shotgun blasts from the Dawns' apartment, a visibly shaken Gloria decides that she and Phil must go into hiding. After quickly packing a bag they leave the building, just as a police SWAT team is entering with heavy weapons. Meanwhile, a crowd of onlookers and news reporters has gathered in front of the building, and a cameraman captures a picture of them leaving.
Gloria and Phil take a cab into Manhattan, where they hide out in an empty apartment belonging to a friend of hers. The following morning, Phil sneaks out of the apartment and sees his photograph on the front page of several newspapers. Later on, Gloria watches the news on television, which reports the mob hit and names her as Phil's suspected abductor.
The next morning, realizing they are not safe where they are, Gloria and Phil sneak out of the apartment just as a group of gangsters close in on them. The gangsters know Gloria and confront her on the sidewalk outside, exhorting her to give up Phil and the ledger. In desperation, Gloria shoots her revolver at the car of five gangsters, which takes off and flips over. Gloria realizes both her fate and Phil's are now deeply intertwined, and that they will have to leave New York to survive.
Gloria goes to the bank to empty her safe deposit box, and the two settle for the night at a flophouse. She confronts another group of gangsters at a restaurant; she asks for immunity in exchange for the ledger. "Only Mr. Tanzinni can agree to that", says one of the goons, so she takes some of their guns and flees.
The next day, Gloria tells Phil that she plans to send him away to a boarding school. Offended by her intentions, Phil claims he is an independent grown man who can manage alone. Gloria decides to abandon him and have a drink. She is soon filled with guilt for leaving the child and rushes back to look for him; however, he has been captured by some wiseguys. Gloria rescues him, killing one mobster in the process, and fleeing from two others via a taxi and the subway, where several by-standers help her escape.
The two eventually make it to a hotel room, where Gloria laments the mob's strength and ubiquitous presence, explaining to Phil that she was once the mistress of Tanzinni himself. She meets with Tanzinni, relinquishes the ledger, and then flees, killing one gangster as another shoots down upon her elevator car. Phil waits several hours, then flees to Pittsburgh via rail. At a cemetery, Phil and Gloria (the latter disguised as the former's grandmother arriving in a limousine after miraculously surviving her ordeal) reunite.
Production.
John Cassavetes did not originally intend to direct his screenplay; he planned merely to sell the story to Columbia Pictures. However, once his wife, Gena Rowlands, was asked to play the title character in the film, she asked Cassavetes to direct it. "Gloria" is John Adames' only film role.
A sequel was in the works before Cassavetes's death.
Reception and legacy.
On review aggregator Rotten Tomatoes, the film has a 91% approval rating based on 33 reviews, with an average rating of 7.1/10. The website's critics consensus reads: "A comparatively commercial entry from director John Cassavetes, "Gloria"'s pulpy pleasures are elevated by his observant touch and Gena Rowlands' galvanizing star performance."
Reviewing for the "Chicago Sun-Times", Roger Ebert gave the film three out of four stars and described it as "tough, sweet and goofy", as well as "fun and engaging but slight". He believed the overly silly nature of the script is redeemed by "Cassavetes' reliance on a tried-and-true plot construction" and the acting performances, particularly that of Rowlands, who he said "propels the action with such appealing nervous energy that we don't have the heart to stop and think how silly everything is". In a retrospective review, "Slant Magazine" praised Rowlands' performance and said that "the supporting cast pales in comparison to Rowlands".
The film is recognized by American Film Institute in these lists:
The Japanese filmmaker Akira Kurosawa cited "Gloria" as one of his favorite films.
The film was remade in 1999 under the same title with a screenplay by Steve Antin. The remake was directed by Sidney Lumet. It starred Sharon Stone and Jean-Luke Figueroa.
Other films inspired by "Gloria" include Erick Zonca's 2008 film "Julia", starring Tilda Swinton and Luc Besson's 1994 film "Léon: The Professional". In 2013, Paul Schrader was planning his own remake of the film, starring Lindsay Lohan. And, in 2018, Taraji P. Henson starred in a loose remake entitled "Proud Mary".
John Adames.
The film is notable for the performance of child actor John Adames (also known as Juan Adames), for which he won the first ever Golden Raspberry Award for Worst Supporting Actor, shared with Laurence Olivier for his role in "The Jazz Singer". Adames, who had been cast after an open call, was between five and seven years old when cast, and his character Phil Dawn was six. He did not have any subsequent film roles afterwards.
Adames' performance was criticized by contemporary reviewers, who according to critic Ray Carney, expected Adames to be "cute and cuddly", and when he was not, they judged that Cassavetes had failed. Eric Henderson of "Slant" magazine posited that the criticism was due to Adames' vocal delivery, which he compared to "what Paddy Chayefsky would sound like impersonating Alvin Chipmunk".
Roger Ebert praised Adames' performance, calling him "well cast". Writing for "Film Comment" in 2017, Shonni Enelow revisited Adames' performance as the "crucial positive negative" that "makes the film work".
References.
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John Cassavetes
American filmmaker and actor (1929–1989)
John Nicholas Cassavetes (December 9, 1929 – February 3, 1989) was an American filmmaker and actor. He began as an actor in film and television before helping to pioneer modern American independent cinema as a writer and director, often self-financing, producing, and distributing his own films. He received nominations for three Academy Awards, two BAFTA Awards, four Golden Globe Awards, and an Emmy Award.
After studying at the American Academy of Dramatic Arts, Cassavetes started his career in television acting in numerous network dramas. From 1959 to 1960 he played the title role in the NBC detective series "Johnny Staccato". He acted in notable films, such as Martin Ritt's film noir "Edge of the City" (1957), Robert Aldrich's war film "The Dirty Dozen" (1967), Roman Polanski's horror film "Rosemary's Baby" (1968) and Elaine May's crime drama "Mikey and Nicky" (1976). For "The Dirty Dozen", he earned a nomination for the Academy Award for Best Supporting Actor.
As a director, Cassavetes became known for a string of critically acclaimed independent dramas including "Shadows" (1959), "Faces" (1968), "Husbands" (1970), "A Woman Under the Influence" (1974), "Opening Night" (1977), and "Love Streams" (1984). His films employed an actor-centered approach which prioritized raw character relationships and "small feelings" while rejecting traditional Hollywood storytelling, method acting, and stylization. His films became associated with an improvisational aesthetic and a cinéma vérité feel. He received Academy Award nominations for Best Original Screenplay ("Faces") and Best Director ("A Woman Under the Influence").
He frequently collaborated with American actress Gena Rowlands (to whom he was married from 1954 until his death in 1989) and friends Peter Falk, Ben Gazzara, and Seymour Cassel. Many of his films were shot and edited in his and Rowlands' own Los Angeles home.
He and Rowlands had a son named Nick and two daughters, named Alexandra and Zoe, all of whom followed them into acting and filmmaking.
Early life and education.
John Nicholas Cassavetes was born in New York City on December 9, 1929, the son of Greek-American actress Katherine Cassavetes (née Demetriou), who was later featured in some of his films, and Greek immigrant Nicholas John Cassavetes. His early years were spent with his family in Greece; when he returned to New York at the age of seven, he spoke no English. He was then raised on Long Island, where he attended Paul D. Schreiber Senior High School (then known as Port Washington High School) from 1945 to 1947 and participated in "Port Weekly" (the school paper), "Red Domino" (interclass play), football, and the "Port Light" (yearbook).
Cassavetes attended Blair Academy in New Jersey and spent a semester at Champlain College in Burlington, Vermont, but was expelled due to his failing grades. He spent a few weeks hitchhiking to Florida and then transferred to the American Academy of Dramatic Arts, encouraged by recently enrolled friends who told him the school was "packed with girls". He graduated in 1950 and met his future wife Gena Rowlands at her audition to enter the Academy in 1953. They were married four months later in 1954. He continued acting in the theater, took small parts in films, and began working on television in anthology series such as "Alcoa Theatre".
Career.
Acting workshop.
By 1956, Cassavetes had begun teaching an alternative to method acting in his own workshop—co-founded with friend Burt Lane in New York City—in which performance would be based on character creation rather than back-story or narrative requirements. Cassavetes particularly scorned Lee Strasberg's Method-based Actors Studio, and the Cassavetes-Lane approach held that acting should be an expression of creative joy rather than the "moody, broody anguish" associated with Strasberg's teaching.
Shortly after opening the workshop, Cassavetes was invited to audition at the Actors Studio, and he and Lane devised a prank: they claimed to be performing a scene from a recent stage production but in fact improvised a performance on the spot, fooling an impressed Strasberg. Cassavetes then fabricated a story about his financial troubles, prompting Strasberg to offer him a full scholarship to the Studio; Cassavetes immediately rejected it, feeling that Strasberg did not know anything about acting if he had been so easily fooled by the two ruses.
An improvisation exercise in the workshop inspired the idea for his writing and directorial debut, "Shadows" (1959; first version 1957). Cassavetes raised the funds for the production from friends and family, as well as listeners to Jean Shepherd's late-night radio talk-show "Night People". His stated purpose was to make a film about modest-income “little people”, unlike Hollywood studio productions, which focused on stories about wealthy people. Cassavetes was unable to gain American distribution of "Shadows", but it won the Critics Award at the Venice Film Festival. European distributors later released the movie in the United States as an import. Although the box-office returns of "Shadows" in the United States were slight, it did gain attention from the Hollywood studios.
Television and acting jobs.
Cassavetes played bit-parts in B pictures and in television serials, until gaining notoriety in 1955 as a vicious killer in "The Night Holds Terror," and as a juvenile delinquent in the live TV drama "Crime in the Streets". Cassavetes would repeat this performance credited as an “introducing” lead in the 1956 film version, which also included another future director, Mark Rydell, as his gang mate. His first starring role in a feature film was "Edge of the City" (1957), which co-starred Sidney Poitier. He was briefly under contract to Metro-Goldwyn-Mayer and co-starred with Robert Taylor in the western "Saddle the Wind", written by Rod Serling. In the late 1950s, Cassavetes guest-starred in Beverly Garland's groundbreaking crime drama, "Decoy", about a New York City woman police undercover detective. Thereafter, he played Johnny Staccato, the title character in a television series about a jazz pianist who also worked as a private detective. In total he directed five episodes of the series, which also features a guest appearance by his wife Gena Rowlands. It was broadcast on NBC between September 1959 and March 1960, and then acquired by ABC; although critically acclaimed, the series was cancelled in September 1960. Cassavetes would appear on the NBC interview program, "Here's Hollywood".
1960s.
In 1961 Cassavetes signed a seven-year deal with Paramount. Cassavetes directed two movies for Hollywood in the early 1960s: "Too Late Blues" (1961); "A Child Is Waiting (1963)" starring Burt Lancaster and Judy Garland. He starred in the CBS western series "Rawhide" in the episode "Incident Near Gloomy River" (1961). In the 1963–1964 season he was cast in the ABC medical drama about psychiatry, "Breaking Point". In 1964, he again co-starred with his wife, this time in an episode of "The Alfred Hitchcock Hour" anthology program, and in 1965, he appeared on ABC's western series, "The Legend of Jesse James". In the same year, he also guest-starred in the World War II series "Combat!", in the episode "S.I.W.", and as the insane nuclear scientist Everett Lang in "Voyage to the Bottom of the Sea", season 2, episode "The Peacemaker".
With payment for his work on television, as well as a handful of film acting jobs, he was able to relocate to California and to make his subsequent films independent of any studio, as "Shadows" had been made. The films in which he acted with this intention include Don Siegel's "The Killers" (1964), the motorcycle gang movie "Devil's Angels" (1967), "The Dirty Dozen" (1967), for which he was nominated for an Academy Award for Best Supporting Actor, the Guy Woodhouse lead (originally intended for Robert Redford) in Roman Polanski's "Rosemary's Baby" (1968), and "The Fury" (1978). Cassavetes portrayed the murderer in a 1972 episode of the TV crime series "Columbo", titled "Étude in Black". Cassavetes and series star Peter Falk had previously starred together in the 1969 mob action thriller "Machine Gun McCain". The two later starred in Elaine May's film "Mikey and Nicky" (1976).
"Faces" (1968) was the second film to be both directed and independently financed by Cassavetes. The film starred his wife Gena Rowlands—whom he had married during his struggling actor days—John Marley, Seymour Cassel and Val Avery, as well as several first-time actors, such as lead actress Lynn Carlin and industry fringies like Vince Barbi. It depicts the slow disintegration of a contemporary marriage. The film reportedly took three years to make, and was made largely in the Cassavetes home. "Faces" was nominated for three Academy Awards: Best Original Screenplay, Best Supporting Actor, and Best Supporting Actress. Around this time, Cassavetes formed "Faces International" as a distribution company to handle all of his films.
1970s.
In 1970, Cassavetes directed and acted in "Husbands", with actors Peter Falk and Ben Gazzara. They played a trio of married men on a spree in New York and London after the funeral of one of their best friends. Cassavetes stated that this was a personal film for him; his elder brother had died at the age of 30.
"Minnie and Moskowitz" (1971), about two unlikely lovers, featured Rowlands and Cassel. "A Woman Under the Influence" (1974) stars Rowlands as an increasingly troubled housewife. Rowlands received an Academy Award nomination for Best Actress, while Cassavetes was nominated for Best Director. In "The Killing of a Chinese Bookie" (1976), Gazzara plays a small-time strip-club owner with an out-of-control gambling habit, pressured by mobsters to commit a murder to pay off his debt.
In "Opening Night" (1977), Rowlands plays the lead alongside Cassavetes; the film also stars Gazzara and Joan Blondell. Rowlands portrays an aging film star named Myrtle Gordon, who is working in the theater and suffering a personal crisis. Alone and unloved by her colleagues, afraid of aging and always removed from others due to her stardom, she succumbs to alcohol and hallucinations after witnessing a young fan accidentally die. Ultimately, Gordon fights through it all, delivering the performance of her life in a play. Rowlands won the Silver Bear for Best Actress at the 28th Berlin International Film Festival for her performance.
1980s.
Cassavetes directed the film "Gloria" (1980), featuring Rowlands as a Mob moll who tries to protect an orphan boy whom the Mob wants to kill, which earned her another Best Actress nomination. In 1982, Cassavetes starred in Paul Mazursky's "Tempest," which co-starred Rowlands, Susan Sarandon, Molly Ringwald, Raúl Juliá and Vittorio Gassman.
Cassavetes penned the stage play "Knives", the earliest version of which he allowed to be published in the 1978 premiere issue of "On Stage", the quarterly magazine of the American Community Theatre Association, a division of the American Theatre Association. The play was produced and directed as one of his "Three Plays of Love and Hate" at Hollywood, California's Center Theater in 1981. The trio of plays included versions of Canadian playwright Ted Allan's "The Third Day Comes" and "Love Streams," the latter of which served as the blueprint for Cassavetes' 1984 film of the same name.
Cassavetes made the Cannon Films-financed "Love Streams" (1984), which featured him as an aging playboy who suffers the overbearing affection of his recently divorced sister. It was entered into the 34th Berlin International Film Festival where it won the Golden Bear. The film is often considered Cassavetes' "last film" in that it brought together many aspects of his previous films. He despised the film "Big Trouble" (1986), which he took over during filming from Andrew Bergman, who wrote the original screenplay. Cassavetes came to refer to the film as "The aptly titled 'Big Trouble,'" since the studio vetoed many of his decisions for the film and eventually edited most of it in a way with which Cassavetes disagreed.
In January 1987, Cassavetes was facing health problems, but he wrote the three-act play "Woman of Mystery" and brought it to the stage in May and June at the Court Theatre, Los Angeles.
Cassavetes worked during the last year of his life to produce a last film that was to be titled "She's Delovely". He was in talks with Sean Penn to star, though legal and financial hurdles proved insurmountable and the project was forgotten about until after Cassavetes' death, when his son Nick finally directed it as "She's So Lovely" (1997).
Filmmaking style.
Cassavetes spent the majority of his directing career working 'off the grid' and in a communal atmosphere "unfettered by the commercial concerns of Hollywood." His films aim to capture "small feelings" often repressed by Hollywood filmmaking, emphasizing intimate character examination and relationships rather than plot, backstory, or stylization. He often presented difficult characters whose behaviors were not easily understood, rejecting simplistic psychological or narrative explanations for their actions. Cassavetes also disregarded the "impressionistic cinematography, linear editing, and star-centred scene making" fashionable in Hollywood and art films. Often unable to interest Hollywood studios in financing his work, Cassavetes typically worked with small but dedicated crew of friends and technicians. He said: "The hardest thing for a film-maker, or a person like me, is to find people … who really want to do something."
Cassavetes worked to create a comfortable and informal environment where actors could freely experiment with their performances and go beyond acting clichés or "programmed behaviors." He dismissed Method acting as "more a form of psychotherapy than of acting" which resulted in sentimental cliches and self-indulgent emotion. Instead, he held that acting should be an expression of creative joy and exuberance, with emphasis put on the character's creation of "masks" in the process of interacting with other people. Cassavetes also said that he strove "to put [actors] in a position where they may make asses of themselves without feeling they're revealing things that will eventually be used against them." He frequently filmed scenes in long, uninterrupted takes, explaining that:The drama of the scenes comes naturally from the real passage of time lived by the actors [...] The camera isn't content to just follow the characters' words and actions. I focus in on specific gestures and mannerisms. It's from focusing on these little things—the moods, silences, pauses, or anxious moments—that the form arises.
Cassavetes also rejected the dominance of the director's singular vision, instead believing each character must be the actor's "individual creation" and refusing to explain the characters to his actors in any significant detail. He claimed that "stylistic unity drains the humanity out of a text [...] The stories of many different and potentially inarticulate people are more interesting than a contrived narrative that exists only in one articulate man's imagination." The manner in which Cassavetes employed improvisation is frequently misunderstood: with the exception of the original version of "Shadows", his films were tightly scripted. However, he allowed actors to interpret characters in their own way, and often rewrote scripts based on the results of rehearsals and performances. He explained that "I believe in improvising on the basis of the written word and not on undisciplined creativity."
Cassavetes worked with jazz musicians Charles Mingus and Shafi Hadi to provide the score for "Shadows". Mingus's friend, Diane Dorr-Dorynek, described Cassavetes' approach to film-making in jazz terms:
The script formed the skeleton around which the actors might change or ad lib lines according to their response to the situation at the moment, so that each performance was slightly different. A jazz musician works in this way, using a given musical skeleton and creating out of it, building a musical whole related to a particular moment by listening to and interacting with his fellow musicians. Jazz musicians working with actors could conceivably provide audiences with some of the most moving and alive theater they have ever experienced.
When asked by André S. Labarthe during the making of "Faces" whether he had the desire to make a musical film, Cassavetes responded he wanted to make only one musical, Dostoyevsky's "Crime and Punishment". Cassavetes was passionate about a wide range of music, from jazz to classical to rock, saying "I like all music. It makes you feel like living. Silence is death."
Cassavetes worked with composer Bo Harwood from 1970 to 1984 on six films in several different capacities, even though Harwood had initially only signed on to do "a little editing" for "Husbands", and "a little sound editing" for "Minnie and Moskowitz". Harwood composed poignant music for Cassavetes' following three films, and was also credited as "Sound" for two of them. During these projects Harwood wrote several songs, some with Cassavetes contributing lyrics and rudimentary tunes. During his work with Cassavetes, Harwood claimed the notoriously unpredictable director preferred to use the "scratch track" version of his compositions, rather than to let Harwood refine and re-record them with an orchestra. Some of these scratch tracks were recorded in Cassavetes' office, with piano or guitar, as demos, and then eventually ended up in the final film. While this matched the raw, unpolished feel that marks most of Cassavetes' films, Harwood was sometimes surprised and embarrassed.
The relationship between Harwood and Cassavetes ended amicably. When asked by documentarian Michael Ventura during the making of Cassavetes' last film "Love Streams", what he had learned from working with Cassavetes, Harwood replied:
I learned a lot through John. I've done a lot of editing for him. Picture editing, sound editing, music editing, shot sound, composed score, and I've learned a lot about integrity ... I think you know what I mean. You know, thirty years from now, I can say I rode with Billy the Kid.
Personal life.
Marriage.
Cassavetes was married to American actress Gena Rowlands from 1954 until his death in 1989. Many of his films were shot and edited in his and Rowlands' own Los Angeles home. He and Rowlands had a son named Nick and two daughters named Alexandra and Zoe, all of whom followed them into acting and filmmaking.
Death.
A long-time alcoholic, Cassavetes died in Los Angeles from complications of cirrhosis at the age of 59 on February 3, 1989. He is buried at Westwood Village Memorial Park cemetery in Los Angeles.
At the time of his death, Cassavetes had amassed a collection of more than 40 unproduced screenplays, as well as a novel, "Husbands". He also left three unproduced plays: "Sweet Talk", "Entrances and Exits", and "Begin the Beguine", the last of which, in German translation, was co-produced by Needcompany of Belgium and Burgtheater of Vienna, and premiered on stage at Vienna's Akademietheater in 2014.
Legacy and reception.
Cassavetes is the subject of several biographies. "Cassavetes on Cassavetes" is a collection of interviews collected or conducted by Boston University film scholar Ray Carney, in which the filmmaker recalled his experiences, influences, and outlook on the film industry. In the 2005 Hollywood issue of "Vanity Fair", one article features a tribute to Cassavetes by three members of his stock company, Rowlands, Gazzara, and Falk.
Many of Cassavetes' films are owned by Faces Distribution, a company overseen by Gena Rowlands and Julian Schlossberg, distributed by Jumer Films (Schlossberg's own company), with additional sales and distribution by Janus Films. In September 2004, The Criterion Collection produced a Region 1 DVD box set of his five independent films: "Shadows", "Faces", "A Woman Under the Influence", "The Killing of a Chinese Bookie" and "Opening Night". Also featured in the set is a documentary about the life and works of Cassavetes, "A Constant Forge", a booklet featuring critical assessments of the director's work and tributes by old friends. Criterion released a Blu-ray version of the set in October 2013. In 2005, a box set of the same films was released in Region 2 by Optimum Releasing. The Optimum DVD of "Shadows" has a voice-over commentary by Seymour Cassel. Then, in 2014, the Faces/Jumer library became the property of Shout! Factory, which acquired the films' holding parent company, Westchester Films.
Cassavetes' son Nick followed in his father's footsteps as an actor and director, adapting the "She's Delovely" screenplay his father had written into the 1997 film "She's So Lovely", which starred Sean Penn, as John Cassavetes had wanted. Alexandra Cassavetes directed the documentary "" in 2004, and in 2006 served as 2nd Unit Director on her brother Nick's film, "Alpha Dog". Cassavetes' younger daughter Zoe wrote and directed the 2007 film "Broken English", featuring Rowlands and Parker Posey.
"The New Yorker" wrote that Cassavetes "may be the most influential American director of the last half century"—this in announcing that all the films he directed, plus others he acted in, were being screened in a retrospective tribute at the Brooklyn Academy of Music throughout July 2013. AllMovie called Cassavetes "an iconoclastic maverick".
The Independent Spirit Awards named one of their categories after Cassavetes, the Independent Spirit John Cassavetes Award. A one-person show about John Cassavetes titled "Independent" premiered at Essential Theatre in Atlanta in August 2017. The play was written by John D. Babcock III and starred actor Dan Triandiflou as Cassavetes. The song "What's Yr Take on Cassavetes?" by the band Le Tigre is about misogynistic themes within John Cassavetes' films and whether they can still be praised after those themes are identified. The song "Cassavetes" by the band Fugazi parallels John Cassavetes' independence from the film industry with the band's own independence from the record industry. In concert, singer Guy Picciotto introduced it as "a song about making your own road."
Filmography.
As director
Awards and nominations.
As a filmmaker, he was nominated for the Academy Award for Best Original Screenplay for "Faces" (1968) and the Academy Award for Best Director for "A Woman Under the Influence" (1974). The Independent Spirit Awards named the John Cassavetes Award in his honor.
References.
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Mother Gloria
1941 film by Richard Harlan
Mother Gloria (Spanish:Mamá Gloria) is a 1941 Argentine comedy film of the Golden Age of Argentine cinema, directed by Richard Harlan and starring Olinda Bozán, Aída Luz and Pedro Maratea.
The film's sets were designed by the art director Juan Manuel Concado.
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Gloria Bell
Gloria Bell is a 2018 comedy-drama film co-written and directed by Sebastián Lelio; it is an English language remake of his 2013 film "Gloria". The film stars Julianne Moore, John Turturro, Michael Cera, Caren Pistorius, Brad Garrett, Jeanne Tripplehorn, Rita Wilson, Sean Astin, and Holland Taylor. It had its world premiere at the Toronto International Film Festival on September 7, 2018, and was theatrically released in the United States on March 8, 2019, by A24.
Plot.
Gloria Bell is a middle-aged divorcée living in Los Angeles. She has two children: Anne, a kindhearted yoga instructor, and Peter, an uninspired married man who cares for his infant son while his wife is away. Gloria spends her nights letting loose at dance clubs around the city that play 1970s and 1980s dance music.
One night, Gloria meets Arnold, also a divorcée, and they hit it off. They sleep together and begin a relationship shortly after. However, Gloria is annoyed when Arnold admits that he still financially supports his ex-wife and two daughters, who are unemployed and demanding. He owns a paintball arena and introduces her to the sport.
At Peter's birthday party, Gloria introduces Arnold to her children, ex-husband Dustin, and Dustin's wife Fiona. During a toast, Gloria unwittingly reveals that Anne is pregnant; the father is a Swedish wave rider and she plans to move to Sweden with him, which Dustin was not aware of.
Later, they look at old family photos including Gloria and Dustin's wedding pictures. The exes laugh at the old photos but Arnold, feeling left out, leaves unnoticed. When Gloria realizes Arnold has left, everyone goes looking for him before giving up. She leaves the party embarrassed.
Arnold repeatedly calls her, and finally catches up with her as she is leaving work. He attempts to justify his sudden exit from the party by claiming he tried initiating eye contact with her but her eyes were not looking for him. When Arnold again mentions his daughters' calls, Gloria blows him off. She tries to return his paintball guns but he refuses, so she drives away with them.
Gloria's mentally unstable neighbor leaves his marijuana on her doorstep one night, and, impulsively, she smokes it and goes dancing. The next day, she drives Anne to the airport for her trip to Sweden, tearfully accepting her daughter is grown up. Soon after, Gloria is told by a doctor that she will have to take prescription eyedrops for the rest of her life for her failing eyesight.
Gloria finally returns Arnold's calls and they arrange a trip to Las Vegas. As they are settling into their room, he again receives a call from his daughters, who inform him that his ex-wife injured herself walking through a sliding glass door. Despite his daughters' protests, Arnold refuses to cancel the trip, and he and Gloria have sex that night.
During a romantic dinner together, Gloria suggests that they take a trip to Spain. Arnold agrees; when Arnold's phone continues to ring, Gloria drops it in his soup. He excuses himself, saying he'll be right back. After some time passes, Gloria realizes that Arnold has deserted her and discovers he has checked out of their hotel room, leaving her without her luggage or a place to stay.
To drown her sorrows, Gloria dazedly drinks and gambles with random people, hooking up with their friend and experiencing a hallucinatory trip. She wakes up on a pool chair missing a shoe and calls her mother to take her home.
Arnold tries calling Gloria multiple times and she unplugs her phone in response. Coming across the paintball guns in her car trunk, she resolves to throw them away, but goes back to retrieve them at the last minute. Driving to Arnold's house, she silently shoots his house and him in anger. His ex-wife and daughters rush outside yelling obscenities, but Gloria remains unfazed and drives away, laughing with "Total Eclipse of the Heart" playing on her stereo.
At the wedding reception for the daughter of her friend Vicky, Gloria is asked to dance as the song "Gloria" starts to play, but she politely declines. Vicky coaxes her out, and Gloria changes her mind, gets on the dance floor and begins to lose herself in the music.
Cast.
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Production.
On May 12, 2017, it was reported that Sebastián Lelio would direct a reimagining of his 2013 film "Gloria" starring Julianne Moore. "As one of the greatest actresses in the world, Julianne giving her interpretation of the character is not only a huge honor, it's irresistible. It's going to be like jazz, you'll feel the spirit of the original story but it'll be re-invigorated and vital," said Lelio. On November 16, 2017, it was reported that the film had begun production. John Turturro, Michael Cera, Brad Garrett, Holland Taylor, and Caren Pistorius also joined the cast.
Release.
It had its world premiere at the Toronto International Film Festival on September 7, 2018. Prior to that, A24 had acquired U.S. distribution rights to the film. It was released on March 8, 2019.
Reception.
Box office.
"Gloria Bell" grossed $5.6 million in the United States and Canada, and $5 million in other territories, for a worldwide total of $10.6 million.
The film made $145,218 from five theaters in its opening weekend, the second best per-venue average ($29,044) of the weekend behind the blockbuster "Captain Marvel". In its third weekend, the film expanded to 654 theaters and made $1.7 million, finishing eighth.
Critical response.
On review aggregator Rotten Tomatoes, the film holds an approval rating of based on reviews, with an average rating of . The website's critical consensus reads, "Free of visual or narrative embellishments, "Gloria Bell" rests almost completely on Julianne Moore's performance in the title role – and she's gloriously up to the task." Metacritic gave the film a weighted average score of 79 out of 100, based on 40 critics, indicating "generally favorable reviews".
Gwilym Mumford of "The Guardian" gave the film four stars out of five, saying, "there's a warm universality here that is absorbing in its own right." Stephen Dalton of "The Hollywood Reporter" wrote: "Although he reconstructs the original film's narrative virtually scene by scene, Lelio strikes a more overtly comic note in "Gloria Bell" than in the original."
Peter Debruge of "Variety" called it "one of the great female-led films of the 21st century, passing the Bechdel test with flying colors — which explains why Moore would be so keen to remake it." Manohla Dargis of "The New York Times" wrote: "a transcendent Julianne Moore," the director "is acutely sensitive to the absurdities of everyday life, including the comedy of humiliation, both petty and wounding."
In contrast, some film critics criticized the remake's existence. On "Mi Cine Tu Cine", a Mexican film review TV program, Alonso Díaz de la Vega called it "unnecessary", "burying the triumph of Paulina García and Sergio Hernández's performances" (the original version's protagonists) and "hiding the Latin American work" as a way in which Hollywood wants to tell how to get a notion of success; while Arantxa Luna and Jean-Christophe Berjon emphasized the change of actress, remarking Garcia's performance as "more fresh" and "more profound".
References.
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Gloria Hemingway
American physician (1931–2001)
Gloria Hemingway (born Gregory Hancock Hemingway, November 12, 1931 – October 1, 2001) was an American physician and writer who was the third and youngest child of author Ernest Hemingway. Although she was born a male and lived most of her life publicly as a man, she struggled with her gender identity from a young age. In her 60s, she underwent gender transition surgery, and preferred the name Gloria when possible.
A good athlete and a crack shot, Gloria longed to be a typical Hemingway hero and trained as a professional hunter in Africa, but her alcoholism prevented her from gaining a license, and it ultimately cost her her medical license in the United States. Gloria maintained a long-running feud with her father, stemming from a 1951 incident when her arrest for entering a bar in drag caused an argument between Ernest and Gloria's mother Pauline Pfeiffer. Pfeiffer died from a stress-related condition the following day, which Ernest blamed on Gloria.
In 1976, she authored a bestselling memoir of her father, "Papa: A Personal Memoir", which was seen by some to reflect troubles of her own. These included wearing women's clothes, which she ascribed to gender dysphoria.
Early life and education.
Born in Kansas City, Missouri, to novelist Ernest Hemingway and his second wife Pauline Pfeiffer, she was called 'Gigi' or 'Gig' in childhood and was, according to a close observer, "a tremendous athlete" and a "crack shot". As an adult, she preferred the name 'Greg'. At the age of 12, she was wearing her stepmother Martha Gellhorn's stockings almost daily. Ernest caught her wearing them, and had an outburst of anger that left an impression on Gloria for decades. However, a few days later he said to her: "Gigi, we come from a strange tribe, you and I." Hemingway attended the Canterbury School, a Catholic prep school in Connecticut, graduating in 1949. She dropped out of St. John's College, Annapolis, after one year and worked for a time as an aircraft mechanic before moving to California in 1951.
In April 1951 Gloria married Jane Rhodes. The two had not known each other long, and Rhodes was pregnant. Ernest objected to 19-year-old Gloria marrying, because of her financial and mental instability. The same year, Gloria met with L. Ron Hubbard, and was quite taken by Scientology.
In September 1951, Gloria was arrested for entering a women's bathroom in a Los Angeles movie theater dressed in women's clothing. Her mother, Pauline Pfeiffer, immediately flew out to see her, and took efforts to prevent media picking up the story. Pfeiffer called Ernest in Havana, and the two parents argued, with Gloria recounting later that Ernest blamed Pauline for Gloria's nature. According to Hemingway biographer Michael Reynolds the "conversation degenerated into accusations, blame-laying, vituperation, and general misunderstanding." Pfieffer died of hypertension around 4am the following morning, and both Hemingways would blame the other for her death. During the autopsy it was discovered she suffered from a rare tumor that "secretes abnormal amounts of adrenaline causing extremely high blood pressure." Ernest blamed Gloria for Pauline's death, and she was deeply disturbed by the accusation. It would be years before Gloria and Ernest spoke with each other, and their relationship would be tense for the rest of Ernest's life.
Another result was that Gloria inherited a significant amount of money, which she used in part to retreat to Africa, where she drank alcohol and shot elephants. She spent the next three years in Africa as an apprentice professional hunter but failed to obtain a license because of her drinking. She joined the United States Army as a private in October 1956 and served briefly. She was stationed at Fort Bragg, North Carolina. She was soon institutionalized for bipolar disorder, and received several dozen treatments with electroconvulsive therapy. Of another period shooting elephants she wrote: "I went back to Africa to do more killing. Somehow it was therapeutic." Not until nearly a decade later, in 1960, did she feel strong enough to resume her medical studies and respond to her father's charges. She wrote her father a bitter letter, detailing the medical facts of her mother's death and blaming Ernest for the tragedy. The next year, Ernest Hemingway killed himself, and again Gloria wrestled with guilt over the death of a parent.
She obtained a medical degree from the University of Miami Medical School in 1964.
Career.
Gloria practiced medicine in the 1970s and 1980s, first in New York and then as a rural family doctor in Montana, first in Fort Benton and later as the medical officer for Garfield County, based in Jordan, Montana. Much of her medical practice involved health exams for insurance companies. Interviewed there, she said: "When I smell the sagebrush or see the mountains, or a vast clean stream, I love those things. Some of my happiest memories of childhood were associated with the West." In 1988, authorities in Montana declined to renew Gloria's medical license because of her alcoholism. Gloria dealt with bipolar disorder, alcoholism, and drug abuse for many years.
Gloria and her brothers tried to protect their father's name and their inheritance by taking legal action to stop the popular local celebrations called "Hemingway Days" in Key West, Florida. In 1999, they collaborated in creating a business venture, Hemingway Ltd., to market the family name as "an up-scale lifestyle accessory brand". Their first venture created controversy by putting the Hemingway name on a line of shotguns.
Personal life.
Gender identity.
Throughout her life, Gloria experienced gender dysphoria and wore women's clothes often, mostly privately and occasionally going out. When Gloria was 12 years old, Ernest walked in on her dressed in her stepmother Martha Gellhorn's stockings, a near-daily activity at the time, and went berserk. A Gloria biographer, Donald Junkins, stated that Gloria, when she was 60 years old, told him that "[she] never got over it: the raging wrath of [her] father". However, a few days after the childhood encounter Ernest counseled "Gigi, we come from a strange tribe, you and I." In 1946 Ernest's wife Mary accused the maid of stealing her lingerie, but later discovered the items under 14-year-old Gloria's mattress. When Ernest rebuked his child for stealing from Mary years later, Gloria responded "The clothes business is something that I have never been able to control, understand basically very little, and I am terribly ashamed of. I have lied about it before, mainly to people I am fond of, because I was afraid they would not like me as much if they had found out."
Gloria's wife Valerie wrote that Gloria "fought a losing battle against this crippling illness", faulting Gloria's parents as "unable or unwilling to accept" what Gloria herself could not "come to terms with it ... for a long time, taking up the study of medicine in the hope that [she] would find a cure, or at least a solace." Valerie described "an alternate persona, a character into which [Gloria] could retreat from the unbearable responsibilities of being, among other things, his father's son ["sic"], and of never ever measuring up to" others' expectations and Gloria's own.
Gloria considered gender-affirming surgery as early as 1973. Gloria tried conversion therapy to no avail. In a 1986 interview with "The Washington Post", Gloria stated "I've spent hundreds of thousands of dollars trying not to be a transvestite." Meyer's 2020 biography noted that "despite psychiatric help and shock treatments...[Gloria]...remained an obsessive transvestite." She had bottom surgery in 1994 and began using the name Gloria, or sometimes Vanessa, her daughter's name. Gloria remarried Galliher in 1997 in Washington state, presenting as male since same-sex marriage in Washington was illegal at the time.
While she was sometimes open with the media about her struggles with gender dysphoria and had been seen in women's clothing numerous times, Gloria's public persona generally remained male, as she never gained the acceptance of her family or society, and repeatedly attempted conversion therapy. Using the name Gregory, she gave interviews about her father as late as 1999. In July of that year she attended events marking the centenary of Ernest Hemingway's birth in Oak Park, Illinois. She also spoke at the dedication of the Hemingway-Pfeiffer Museum in her mother's family home in Piggott, Arkansas, when it opened on July 4, 1999.
In addition to bottom surgery, Gloria had breast implant surgery on one breast and then had it reversed; the autopsy and police report both noted the presence of breasts. She was increasingly seen in women's attire in public; yet, she also frequented a local tavern dressed as a man, presented as what a patron called "just one of the guys", though they knew about her feminine identity and persona and were not bothered.
On September 24, 2001, Gloria wore a black cocktail dress to a party and used the name Vanessa; she did not become drunk and was regarded as noticeably happy by friends, many who had never been introduced to her as a woman before. Gloria also stated that her gender-affirming surgery was the best thing she had ever done. Arrested the next day, she first gave the police the name Greg Hemingway, then changed it to Gloria and was detained in the Miami-Dade Women's Detention Center, where she died five days later.
Relationship with Ernest Hemingway.
In addition to the conflict over him finding Gloria in Martha Gellhorn's clothing, Ernest and his child were estranged for many years, beginning when Gloria was 19 and arrested for entering a women's bathroom in women's clothes. Ernest blamed Pauline, and the enormous stress triggered an underlying condition and caused her death, which he blamed on Gloria. Ernest also said Gloria had "the biggest dark side in the family except me". As an attempt at reconciliation, Gloria sent her father a telegram in October 1954 to congratulate him on being awarded the Nobel Prize and received $5,000 in return. They had intermittent contact thereafter.
One such example was a letter from Gloria to Ernest in reply to one which referenced her gender exploration stating "The clothes business is something that I have never been able to control, understand basically very little, and I am terribly ashamed of. I have lied about it before, mainly to people I am fond of, because I was afraid they would not like me as much if they had found out."
Gloria wrote a short account of her father's life and their strained relationship, "Papa: A Personal Memoir", that became a bestseller. When it appeared in 1976, Norman Mailer wrote in the preface, "There is nothing slavish here...For once, you can read a book about [Ernest] Hemingway and not have to decide whether you like him or not." "The New York Times" called it "a small miracle" and "artfully elliptical" in presenting "gloriously romantic adventures" with "a thin cutting edge of malice". Gloria wrote of her own ambitions in the shadow of her father's fame: "What I really wanted to be was a Hemingway hero." Of her father she wrote: "The man I remembered was kind, gentle, elemental in his vastness, tormented beyond endurance, and although we always called him papa, it was out of love, not fear." She quoted her father as telling her: "You make your own luck, Gig" and "You know what makes a good loser? Practice." "Time" magazine criticized the author's "churlishness" and called her work "a bitter jumble of unsorted resentments and anguished love." Her daughter Lorian responded to "Papa" with a letter to "Time" that said, "I would also like to know what type of person the author is ... I haven't seen [her] for eight years ... I think it sad that I learn more about [her] by reading articles and gossip columns than from my own communication".
According to her wife Valerie, Gloria enjoyed her father's portrayal of her as Andrew in "Islands in the Stream" (1970) and later used the text as the epigraph to her memoir of her father. Valerie included this text as the epigraph to her own tribute to Gloria written two years after her death:
<templatestyles src="Template:Blockquote/styles.css" />The smallest boy was fair and was built like a pocket battle-ship. He was a Copy of Thomas Hudson, physically, reduced in scale and widened and shortened. His skin freckled when it tanned and he had a humorous face and was born being very old. He was a devil too, and deviled both his older brothers, and he had a dark side to him that nobody except Thomas Hudson could ever understand. Neither of them thought about this except that they recognized it in each other and knew it was bad and the man respected it and understood the boy's having it. They were very close to each other although Thomas Hudson had never been as much with this boy as with the others. This youngest boy, Andrew, was a precocious excellent athlete and he had been marvelous with horses since he had first ridden. The other boys were very proud of him but they did not want any nonsense from him, either. He was a little unbelievable and anyone could well have doubted his feats except that many people had seen him ride and watched him jump and seen his cold, professional modesty. He was a boy born to be quite wicked who was being very good and he carried his wickedness around with him transmuted into a sort of teasing gaiety. But he was a bad boy and the others knew it and he knew it. He was just being good while his badness grew inside him.
In the course of her first three marriages, Gloria had eight children including Vanessa, John, and Lorian. One of her marriages, to Valerie Danby-Smith, Ernest's secretary, lasted almost 20 years. Gloria's fourth marriage, to Ida Mae Galliher, ended in divorce in 1995 after three years, though they continued to live together and remarried in 1997.
Death.
Gloria died on October 1, 2001, of hypertension and cardiovascular disease in Miami-Dade Women's Detention Center. That day, Gloria was due in court to answer charges of indecent exposure and resisting arrest without violence. Gloria had been living in Florida for more than ten years. Gloria is interred next to her father and half-brother Jack in the cemetery in Ketchum, Idaho.
Public reactions to death.
In most obituaries, she was called "Gregory", but "Time" magazine published a brief notice of the death of "Gloria Hemingway, 69, transsexual youngest son turned daughter of novelist Ernest Hemingway" and noted the novelist once said Gloria had "the biggest dark side in the family except me". The gravestone reads: "Dr. Gregory Hancock Hemingway 1931–2001".
The media response to Gloria's death has been condemned for not referring to her as "Gloria" and for portraying gender variance as inherently pathological. Shortly after Gloria died, the LGBT magazine "The Advocate" published an article discussing the coverage of her death. In it, Vanessa Edwards Foster, spokeswoman for the National Transgender Advocacy Coalition, discussed how family rejection contributes to depression, how Gloria had to fight for years to be recognized, especially growing up as Ernest's son, and how transgender people felt the coverage was lurid, degrading, and dehumanizing. Gloria's daughter Lorian sympathized, and stated "I am proud of [her] for going through with it" and that she hoped it brought Gloria "some peace in the years [she] had left". She said that it was good that Gloria's life ended "in the women's cell, where [she] would have chosen to be."
She left two wills. One will left most of the $7 million estate to Galliher. The other left most of it to Gloria's children. The children challenged the will that named Galliher as heir, claiming that Galliher was not legally Gloria's widow given that Gloria's home state of Florida did not recognize same-sex marriages. The parties eventually reached an undisclosed settlement.
In 1972, Maia Rodman, Gloria's childhood tennis coach and a family friend who had fallen in love with her, dedicated her book "The Life and Death of a Brave Bull" to Gloria.
Gloria's daughter Lorian Hemingway wrote about Gloria in the 1999 book "Walk on Water: A Memoir". Hemingway's son Edward, an author and artist, has written or illustrated 11 books, including the children's books "Bad Apple", "Tough Cookie", and "Pigeon and Cat". Her son John wrote the memoir "Strange Tribe: A Family Memoir".
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Mama Gloria
Mama Gloria is an American documentary film directed by Luchina Fisher. The film tells the life story of Gloria Allen, a septuagenarian trans woman from the south side of Chicago. "Mama Gloria" premiered in October 2020 at the Chicago International Film Festival. The film received awards from the Teaneck International Film Festival and the Milwaukee Film Festival.
Plot.
"Mama Gloria" centers Gloria Allen, a 73-year-old trans woman based in Chicago, Illinois. The film shares her life and recollections of growing up on the south side with an extremely supportive family, her childhood realization that she was a girl, time spent in the drag ball scene, her eventual coming out and gender reassignment surgery, and her later career as the proprietor of a charm school.
Production.
"Mama Gloria" is director and writer Luchina Fisher's debut documentary feature. She developed "Mama Gloria" so her own daughter, teenage trans advocate Gia Parr, would have a story about a Black trans woman role model that didn't focus solely on their vulnerability to violence. The idea originated from her friend E. Patrick Johnson, who shared a "Chicago Tribune" profile of Allen and suggested Fisher produce a documentary. The title is taken from the nickname by which Allen is known.
Fisher co-produced the film with Yvonne Welbon, Zainab Ali, and Lorna Grisby. The majority of the crew were members of the Black LGBTQ community.
Filming began in 2018. Although production was shut down at the onset of the COVID-19 pandemic, Fisher had enough footage by that time for a complete story.
Of the production, Allen stated in an interview in the "Chicago Tribune", "“It’s just like a dream for me...Everything turned out to be so good and I’m so grateful and thankful to her."
The soundtrack includes "Presence of a Legend," an original song by trans singer-songerwriter Shea Diamond.
Release.
"Mama Gloria" premiered at the Chicago International Film Festival in October 2020 and later showed at several other festivals. It was released as a part of the World Channel documentary series "AfroPoP: The Ultimate Cultural Exchange" on April 5, 2021.
Licensing rights to the film were acquired by PBS for release in 2021.
Reception.
The film received positive reception. In a positive review for "Scalawag", Antonia Randolph wrote, "Rather than offering a litany of the trauma that Black trans women endure, we see how anti-trans violence may have haunted Mama Gloria's life, but does not define it. The film's poignancy comes from contrasting the victories and disappointments that make up any life with a portrayal of the unique forces that subject Black transgender women to premature death." "NBC News"'s Derrick Clifton described Allen's story as "one of surviving with grace and dignity, and a model of possibility for trans people when they are loved and affirmed by their families." Kathleen Sachs of the "Chicago Reader" described it as a "love letter to the charismatic activist" and noted that "it’s refreshing to watch something about love within this community—especially Allen’s love for herself."
References.
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Gloria (2013 film)
2013 film
Gloria is a 2013 drama film produced, co-written and directed by Sebastián Lelio. Paulina García stars in the title role, a 58-year-old woman who starts dating again, 10 years after getting divorced. Sergio Hernández co-stars as her unreliable new boyfriend Rodolfo.
"Gloria" premiered on 10 February 2013 at the 63rd Berlin International Film Festival, where Garcia won the Silver Bear for Best Actress. The film was selected as the Chilean entry for the Best Foreign Language Film at the 86th Academy Awards, but it was not nominated. It won Best Ibero-American Film at the 1st Platino Awards. Lelio remade "Gloria" in English in 2018 as "Gloria Bell", starring Julianne Moore and John Turturro.
Plot.
In Santiago, Chile, Gloria, a 58-year-old woman, decides she doesn't want to spend her days alone after 10 years of being divorced and with her children grown up. She starts attending singles discos where she meets Rodolfo, who runs an amusement park on the outskirts of the city. Despite being seven years older than Gloria and recently divorced, Rodolfo immediately begins a relationship with her. However, he remains extremely close to his two grown-up daughters who rely on him for full financial support, as neither of them has a job. Consequently, Rodolfo never turns off his mobile phone and answers it immediately if his daughters call, regardless of his location. During a date at his amusement park, the two share a kiss.
After a successful lunch with Rodolfo and her friends, Gloria introduces him to her family at a birthday dinner for her son, where her ex-husband Gabriel is also a guest. When asked about his career, Rodolfo struggles to keep up with the barrage of questions about his personal life, having served as an officer in the Chilean Navy. Following heavy drinking, Gloria becomes overly friendly with Gabriel, much to Rodolfo's discomfort. He excuses himself to answer a call from his daughter and doesn't return to the party. Furious, Gloria ends their relationship the following day. Rodolfo meets Gloria at her office to defend his actions at the party and reprimand her for her behavior.
After numerous unsuccessful attempts, Rodolfo finally convinces Gloria to go with him to a luxury hotel beside the sea in Viña del Mar. However, upon arriving in their room, one of Rodolfo's daughters calls to inform him that her mother has been in an accident and he needs to return home immediately. Despite Gloria's attempt to leave, Rodolfo stops her, saying he won't abandon their relationship. They then have sex after she strips.
That night, they head down to the hotel dining room and make plans to go on vacation as a couple. Despite Rodolfo's phone ringing continuously, he refuses to answer it. Gloria asks to see his phone and drops it into his soup, after which Rodolfo excuses himself from the table. Gloria assumes he's gone to the men's room, but he never returns. Upset, Gloria heads to the bar and drinks heavily, leading to a wild night at the casino, disco, and through the city streets. She wakes up with a terrible hangover on the beach the next morning, only to find out that Rodolfo has checked out with her belongings and the room is no longer available. She calls her cleaning lady, Victoria, to come and get her, and they return to Santiago by bus several hours later.
Upon returning home, Rodolfo repeatedly tries to contact Gloria without success. Gloria retrieves one of Rodolfo's paintball guns from her trash bin and puts it back in her car. She drives to his house and splatters the front with green paintballs before shooting Rodolfo in the groin as he tries to enter the house with groceries. His family runs out in horror and yells obscenities at Gloria, who then rushes back to her car and drives away. She then heads to a wedding she had originally planned to attend, arriving midway through the reception. Her friends express gratitude and encourage her to enjoy the party. Despite declining numerous invitations to dance, Gloria stands up when the DJ plays her theme song, "Gloria" by Umberto Tozzi, and takes to the dance floor, allowing herself to get lost in the music.
Reception.
The film received positive reviews at the 2013 Berlin International Film Festival, topping both "Screen International"'s Screen jury poll of international critics, and IndieWire's critics poll of the best films screened at Berlin in 2013. On Rotten Tomatoes the film has a 100% rating based on 129 reviews, with an average rating of 7.9/10. The site's consensus is "Marvelously directed by Sebastian Lelio and beautifully led by a powerful performance from Paulina Garcia, "Gloria" takes an honest, sweetly poignant look at a type of character that's all too often neglected in Hollywood." On Metacritic, the film holds a score of 83 out of 100, based on reviews from 30 critics.
David Rooney of "The Hollywood Reporter" writes "it’s hard to imagine anyone with a heart and a brain not responding to the quiet delights and stunning intimacy of Chilean director Sebastian Lelio’s account of the personal evolution of a 58-year-old divorcee, played with scrupulous honesty and intelligence by the wonderful Paulina Garcia" and "Funny, melancholy and ultimately uplifting, Sebastian Lelio's enormously satisfying spell inside the head and heart of a middle-aged woman never puts a foot wrong".
"Variety" writes "Perceptive and unerringly sympathetic, 'Gloria' has the makings of an arthouse sleeper".
Mark Adams of "Screen International" writes "A delightfully astute and compassionate delve into the life of a 58 year-old divorcee looking for company, romance and perhaps even love, director Sebastián Lelio’s engaging, amusing and oddly uplifting "Gloria" is a film that will strike a chord with audiences of a certain age. It is driven by a quite wonderful performance from Paulina Garcia, who should snag best actress awards at every festival the film plays at."
Eric Kohn of IndieWire gave the film an A and describes it as a "breakthrough" for actress Paulina Garcia.
References.
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Àma Gloria
2023 French film by Marie Amachoukeli
Àma Gloria is a 2023 French film written and directed by Marie Amachoukeli.
Plot summary.
Cléo is six years old, has glasses and a dad - but has lost her mother to cancer. Fortunately, there is Gloria, her nanny , who loves her and whom Cléo adores. However, Gloria's mother has also died, and she must return to her native island of Santiago in Cape Verde to care for own children, the teenage César, who has seldom seen her, and the twenty-year-old Fernanda, who is about to give birth to her own child. Gloria will also supervise the construction of a hotel that she hopes to open for the next tourist season.
Cléo is shocked, and only the promise that she manages to extract from her father cheers her up: the following summer she will be able to join Gloria in her village. Although Cléo harbours a secret hope of bringing "her" Gloria back to Paris, she comes to understand that Gloria now has her own life.
Critical reception.
On the review aggregator Rotten Tomatoes website, the film has an approval rating of 100% based on 29 reviews.
Jessica Kiang, writing for "Variety" praised Mauroy-Panzani: "A last summer of nanny-child togetherness is detailed in a debut made dazzling by an astonishingly intricate performance from its six-year-old star."
Charlotte O'Sullivan of "The Guardian" also had appreations for the film and its young lead actress, writing that "One of the year’s most hypnotic performances nestles inside this seemingly modest French-language coming-of-age drama" calling Mauroy-Panzani a "Gifted six-year-old newcomer."
Allan Hunger of "Screen Daily" wrote that ""Ama Gloria" is quite the heartbreaker as writer/director Marie Amachoukeli confidently traces the intense bond between a six year-old girl and her beloved nanny."
Mansel Stimpson of "Film Review Daily" wrote "Over the years it is impossible not to be amazed by the remarkable achievements of so many child players who have taken leading roles in films. Nevertheless, [...] it is immediately clear that Louise Mauroy-Panzani is not just on that level but that her portrayal of the six-year-old Cléo is one for the ages. [...], she astounds us all over again when, near the close of the film, she rises to the challenge of a big dramatic scene which one would expect to be outside the capability of such a young actor."
Accolades.
Critics' Week chose to have "Àma Gloria" world premiere at its opening gala.
References.
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Gloria (2014 film)
2014 film
Gloria is a 2014 Mexican drama film directed by Christian Keller, based on the life of Mexican pop singer Gloria Trevi. It was one of fourteen films shortlisted by Mexico to be their submission for the Academy Award for Best Foreign Language Film at the 88th Academy Awards, but it lost out to "600 Miles".
Plot.
The film chronicles the life of one of Latin America's biggest pop icons, Gloria Trevi. The film opens with Gloria at an audition for the popular music composer, Sergio Andrade. She impresses Andrade and earns a spot as a member of the Mexican pop group "Boquitas Pintadas". The group fails to achieve much fame, but Sergio notices Gloria's potential as a solo artist, and grooms her as such from then on. Gloria quickly becomes a huge success all over Latin America, but her career comes to a screeching halt when she is found in the middle of a controversial sex scandal.
Awards and nominations.
Ariel Awards.
The Ariel Awards are awarded annually by the Mexican Academy of Film Arts and Sciences in Mexico. "Gloria" won five awards out of 14 nominations.
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References.
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Gloria Warren
American actress and singer (1926–2021)
Gloria Warren (née Weiman; April 7, 1926 – September 11, 2021) was an American actress, soprano singer, and philanthropist.
Early years.
Warren was born Gloria Weiman on April 7, 1926 in Wilmington, Delaware. Her mother, Julia Weiss Weiman, was from Budapest, Hungary, and her father, Herman Weiman, a jeweler and watchmaker, was from Poland. Warner Brothers insisted that she change her last name to Warren when she signed with them in 1941 at age 15, so her parents and sister, June, agreed to change their last names too. She started playing the piano at age eight, and was considered a prodigy by the time she was nine years old. She attended Warner Junior High School in Wilmington, Delaware.
Career.
Gloria Warren was "discovered" in 1940, after her mother, Julia, convinced radio producer Charles Martin to let Gloria perform for him. It was the Golden Age of Radio, and Martin, who was always looking for new talent, was extremely impressed with Gloria's beautiful soprano voice, and how well she played the piano and danced. He immediately alerted his friend and associate Beatrice Kaufman about the talented teenager. Beatrice Kaufman, who was the wife of the famous playwright George S. Kaufman, had a long history in the publishing and entertainment businesses--she had been a writer, playwright, book and magazine editor, and story editor for the film producer Samuel Goldwyn. In 1925, she edited Ernest Hemingway's short story collection, "In Our Time," which would become the author's first published work. When her publishing company bosses were hesitating about publishing the book, she convinced them to believe in the new writer. And in 1940, she would play a very large role in Gloria Warren's film career becoming a reality. It was a period when film studios were making a great deal of money producing musicals starring young actresses like Judy Garland, Deanna Durbin, and Shirley Temple, and Beatrice Kaufman was convinced that the teenage soprano singer and concert pianist had the talent, looks, and charm to have a successful career in Hollywood.
Kaufman introduced Gloria and her parents to her friend, theatrical agent Gummo Marx. Marx had left his brothers’ famous comedy act, the Marx Brothers, several years before because performing wasn’t something he enjoyed doing. He represented many well-known writers and actors,