Our take
It’s been decades since director John Cassavetes released this film about a dysfunctional marriage and family, yet it still feels fresh and subversive today. It follows a middle-aged woman named Mabel (Rowlands), who is deemed crazy by the people around her—she displays odd quirks and acts more like her kids than her peers—but Rowlands gives her character a lot more nuance than that. She’s also desperate and lonely, as well as full of love and wonder. In contrast, her husband Nick (Falk) seems like your normal patriarch—strict, sociable, and aware of social cues and norms. But is Nick, in all his toxic masculine bravado, just as crazy as his wife? Cassavetes demands us to question our concept of normal here, of gender norms and familial expectations. And his intentions are brought to brilliant life by brilliant performances, notably by Rowlands who was nominated for a Best Actress Oscar for this role.
What it won
Oscars
2 noms
Berlin
1 nom
Golden Globes
4 noms
WGA
1 nom
Nat. Board of Review
2 wins
NYFCC
1 nom
The story
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.
Elsewhere
"The primal violence that binds men and woman has rarely been evoked as plausibly or intensely as in this 1974 drama."
— Richard Brody
"Rowlands' performance in the title role is one of those tour de force numbers available only to screen players of alcoholics and lunatics."
— Variety Staff
Couple Nick (Peter Falk) and Mabel Longhetti (Gena Rowlands) try their best to marriage work amid Nick’s long hours at work and Mabel’s increasingly odd actions.
Rowlands, hands down. Her performance is a masterclass at tempering big performances. She’s never too much and always sensitive and heartbreaking.
Rowlands gives what seems like a once-in-a-lifetime performance here, yet to be equaled.
Streaming arrival
Who picked it
Renee Cuisia is the lead curator at A Good Movie to Watch. In her spare time, she likes to watch K-dramas and analyze them to death. She's also seen You've Got Mail one too many times but is still convinced it's one of the greatest films out there.
