1974 Directed by John Cassavetes
Mabel Longhetti, desperate and lonely, is married to a Los Angeles municipal construction worker, Nick. Increasingly unstable, especially in the company of others, she craves happiness, but her extremely volatile behavior convinces Nick that she poses a danger to their family and decides to commit her to an institution for six months. Alone with a trio of kids to raise on his own, he awaits her return, which holds more than a few surprises.
Gena Rowlands Peter Falk Fred Draper Lady Rowlands Katherine Cassavetes Matthew Labyorteaux Matthew Cassel Christina Grisanti George Dunn Mario Gallo Eddie Shaw Angelo Grisanti Charles Horvath James Joyce John Finnegan Vincent Barbi Cliff Carnell Frank Richards Hugh Hurd Leon Wagner Dominique Davalos Xan Cassavetes Pancho Meisenheimer Sonny Aprile Ellen Davalos Joanne Moore Jordan John Hawker Sylvester Words Elizabeth Deering Show All…
David V. Lester Frederick Elmes Caleb Deschanel Gary Graver R. Michael Stringer Anthony R. Palmieri David B. Nowell Michael Ferris Leslie Otis Larry Silver
受影响的女人, 영향 아래 있는 여자, Invloeden op een Vrouw, Una mujer bajo la influencia, En kvinna under påverkan, Eine Frau unter Einfluß, Koware yuku Onnna, Жена под влияние, Una dona ofuscada, Žena pod vlivem, En kvinde under indflydelse, Μια Γυναίκα Εξομολογείται, Une femme sous influence, Egy hatás alatt álló nő, Una moglie, Kobieta pod presją, Uma Mulher Sob Influência, Женщина не в себе, Etki Altında Bir Kadın, Жінка під впливом, 醉酒的女人
USAR
New York Film Festival
Spain
USA
Canada
Denmark15
Brazil12
Brazil
Canada
Denmark
Spain
USA
Man, I really don't know. Similar to 'Faces', this shit is just so hard to get through. Took 4 breaks just to do something else for a few minutes. I really really hate saying things like this but I appreciate films like this more than I enjoy watching them. This thing is oozing with talent. Some of the best acting I've ever seen coupled with amazing direction and don't even get me started on the cinematography. I'm a fool for thinking I can get through his 5 films (the Criterion stuff) in a month. Works like this are meant to be thought about with time until I'm ready to dive back into something that raw. I really did love this movie but I can't emphasize how happy I was when it was over.
A breathtaking whirlwind of raw domestic emotion in intense close-up. Two deeply incompatible people so completely in love with one another and each other's faults that no matter how awkward or painful they are going to keep trying to make it work anyway. This has two of the most intimate, heart-breaking performances ever committed to film so there are obviously so many incredible micro-moments of sadness and comedy but there's none more crushing than Peter Falk, finally realizing that his wife's odd social quirks were her honest expressions of her thoughts and feelings and who she is (and how much he misses them and her), shouting "JUST BE YOURSELF" at a quiet, confused and terrified Gena Rowlands who's just returned home from months of abuse and punishment because everyone around her (including him) considered them an illness.
hardest time I've ever had watching a movie. started crying 10 minutes in and never really stopped.
Is there a movie with better camera work than A Woman Under the Influence? The entire film is about finding the precise distance between the image and Rowlands and Falk's bodies, they are both amazing of course, but it goes down to how one can locate all the messiness of their love dance in all its tenderness and ugliness.
“no emotions now. i really want to be calm.”
soul crushing. a film that feels so intimate at times you feel you’re invading someone’s privacy, so raw and devastating i felt like ripping my eyes out. all mabel wants to do is give. even if she feels lost and alone, she wants to give all the love she has to her kids, her husband and any person that walks into her house. she expresses that love, but in a way that’s not what everyone is expecting from her. mabel is struggling and everyone around her can see that but don’t know what’s best for her. even if they try to help, they don’t really make an effort trying to understand…
i was struck my how full of love mabel is, and how willing she is to give it away, but it’s heartbreaking when you realize almost nobody in her family speaks her language. nobody understands her pain. nobody really knows how to soothe her in a way that heals instead of a way that just covers up & ignores what is really going on. but there is a glimmer here, which is the love she has instilled in her children. they almost smother her at the end; circling around her, looking up at her face, clinging to her legs, wanting to know she’s alright. her son is able to vocalize his love for her in a way her husband can’t. the…
Hate repeating old party lines on Letterboxd (is there anything more pointless than 100 reviews that all say “X actor really gives his/her all!”?), but must admit how much I’m struck by the control of Cassavetes’s camera in every scene; the incorrectly assumed improvisation is really the work of a master. What is more striking is that most of the important visual information is often teetering on the edges of the frame. One really great example is when Mabel goes to the bar. On the bottom of the frame, her hand pops in and out just enough so we can glimpse her ring finger. The hand goes away just as the bartender replaces that part of the image with the…
