A co-worker at the site questions why Nick hasn’t called Mabel to tell her about the unexpected overtime. John Hawker as It proves too much for her. Gino ♦ We’re let inside a new relationship that, like millions before it, looks like it’s going to flame out early. Every approach is equally valid, none more elevated than the rest. Cassavetes takes us from level to level of Mabel’s withdrawal from reality, and the two passages of her madness are among the most harrowing in movies. Clearly many of his co-workers have tangled with him, even to the point of injury, and they’re still friends, still loyal. “You’re acting crazy ... for what ... there’s no reason.” Within these movements, different forces come into play. In Cassavetes, every blink, every shrug, every hesitation counts and drives the story forward. Mabel, a wife and mother, is loved by her husband Nick but her mental illness proves to be a problem in the marriage. On October 22, 2013, the box set was re-released on Blu-ray. Cassavetes lost the best director Oscar to Francis Ford Coppola, who could legimitately have lost to Roman Polanski. It’s astonishing that anyone still believes this hogwash, but it keeps coming up, again and again. Not for John Cassavetes. “I can’t call her. He is affected by pressure, more than his wife, inspiring wariness and pity from his workers. Is Nick a teddy bear? Maybe they want to; maybe they had to. People often speak of Cassavetes’s films as prime examples of “actors’ cinema.” In other words, he’s one of those poor schmucks who turned the keys to the asylum over to the inmates out of misplaced respect. In the second half, the kids are recalcitrant, fiercely protective of their mother, and stubbornly unwilling to stay put. Eddie Shaw as ‘A Woman Under the Influence’: Hard drinking, hard living, not necessarily in that order. Angelo Longhetti ♦ She is the magnet, the center, of whom everyone is demanding what seems like the simplest thing in the world but what is, finally, impossible: “Just be yourself.” There’s Nick (Peter Falk), who clings for dear life to his image of happiness. Rowlands has brighter prospects in the mesmerizing “Opening Night,” a film that looks as late ’70s as “Influence” looks early ’70s. Theirs would be one of the cinema’s greatest and most complex on-screen love affairs, if not for the simple fact that it plumbs so much deeper than mere infatuation. Is this a portrait of a blue-collar type “resorting” to violence? Jackie Peters as I went home and vomited," which prompted curious audiences to seek out the film capable of making Dreyfuss (who is himself bipolar) ill.[7], On review aggregator website Rotten Tomatoes, the film has an approval rating of 90% based on 31 reviews, with a rating average of 8.06/10. The transition occurs in all of the characters, notably her husband, Nick. She’s not that into this guy, who’s an argumentative creep (Plemons, of “Breaking Bad” and “Black Mirror: USS Callister” fame, has cornered that market). When Richard Dreyfuss appeared on The Mike Douglas Show with Peter Falk, he described the film as "the most incredible, disturbing, scary, brilliant, dark, sad, depressing movie" and added, "I went crazy. Harold Jensen ♦ A Woman Under the Influence and Faces, probably his two greatest films, are both ultimately as impossible to pin down as In Search of Lost Time. The key to his work is to realize that it is always Rowlands, not the male lead, who is playing the Cassavetes role. Mabel Longhetti is the equivalent of Raymond Babbitt in “Rain Man,” wrongly confused by viewers as the protagonist. Music: Bo Harwood It is clear from “Influence” that when there is order to our lives, even the shakiest among us are far more functional. Adolph ♦ on a low budget and involving plausible people in unforced situations, arrived at the same time as the French New Wave and offered a similar freedom in America: not the formality of studio productions, but the spontaneity of life happening right now. Matthew Cassel as The restoration was done by the UCLA Film & Television Archive with funding provided by Gucci and the Film Foundation. Cassavetes’ close-ups, with the possible exception of those of Ingmar Bergman, are the most powerful ever made in cinema, jumping off the screen. Men and women? In a remarkably creative scene, Cassavetes has Nick directing a caravan from his work site. Roger Ebert, in his original review of the film, strongly suggested an implication of sexism in society’s assessment of the mental condition, declaring, “because he’s a man and has channels for his craziness, he stays at home and she gets sent away,” but that is unfair. 3. A Woman Under the Influence and Faces, probably his two greatest films, are both ultimately as impossible to pin down as In Search of Lost Time. Perhaps there was a stigma from his TV notoriety. He makes “Ending Things” into a screen version of the immersive off-Broadway play “Sleep No More,” whisking us into seemingly normal rooms in which otherworldly scenes hazily play out. Katherine Cassavetes as On-screen, Cassavetes sat this one out. When “Ending Things” is at its best, you wonder if the characters are figments of an unseen person’s imagination. Nora Sayre, in the New York Times, wrote that Cassevetes “perhaps unintentionally ... has made the man appear much crazier than his wife.” Convinced she has become a threat to herself and others, he reluctantly commits her to an institution, where she undergoes treatment for six months. In perhaps the film’s most famous scene, Rowlands paces while awaiting her children’s school bus. And finally there’s the house itself, also a force: the foyer with the bench, the ground-floor bedroom with the sliding doors opening onto the living room, the dining room with the long table, the backyard, and, most dramatically of all, the staircase (like many great directors before him, Cassavetes understood that the staircase was a necessary focal point of domestic drama—as it is in this film, or in the devastating final shot of Faces). The Rolling Stones put it to song years earlier in “Mother’s Little Helper.” A woman at home day after day with several children, husband working endless hours. "[13], In 2015, the BBC named A Woman Under the Influence the 31st greatest American film ever made. These are not the sophisticates of “Who’s Afraid of Virginia Wolff?” but a working-class couple.