John Cassavetes’ devastating drama details the emotional breakdown of a suburban housewife and her family’s struggle to save her from herself. Starring Peter Falk and Gena Rowlands (in two of the most harrowing screen performances of the 1970s) as a married couple deeply in love yet unable to express that love in terms the other can understand, the film is an uncompromising portrait of domestic turmoil. The Criterion Collection is proud to present one of the benchmark films of American independent cinema—a heroic document from a true maverick director.
Cast
| Nick Longhetti | Peter Falk |
| Mabel Longhetti | Gena Rowlands |
| George Mortensen | Fred Draper |
| Martha Mortensen | Lady Rowlands |
| Mama Longhetti | Katherine Cassavetes |
| Angelo Longhetti | Matthew Laborteaux |
| Tony Longhetti | Matthew Cassel |
| Maria Longhetti | Christina Grisanti |
| Garson Cross | O.G. Dunn |
| Harold Jensen | Mario Gallo |
| Dr. Zepp | Eddie Shaw |
Credits
| Director | John Cassavetes |
| Written and directed by | John Cassavetes |
| Producer | Sam Shaw |
| Editing | David Armstrong and Sheila Viseltear |
| Sound and music | Bo Harwood |
| Lighting | Mitchell Breit |
| Additional photography | Caleb Deschanel |
| Camera operators | Michael Ferris and David Nowell |
| Supervising film editor | Tom Cornwell |
| In charge of postproduction | Robert Heffernan |
| Art direction | Phedon Papamichael |
Oct 27, 2009
For Halloween week, the Museum of Modern Art is showcasing a different kind of horror film. John Cassavetes’s domestic meltdown epic A Woman Under the Influence (which Kent Jones calls “alternately soaring and gut-wrenching” . . .
Nov 18, 2008
Just when you thought it was safe to return to the tripod, he’s baa-ack. “Cassavetes earned a belated place in film history,” writes Darrell Hartman in his Artforum piece marking the Criterion breakout releases of A Woman . . .
by Kent Jones
Sep 20, 2004
If there’s one quality that separates John Cassavetes’ movies from almost everybody else’s, it’s the density of detail in the storytelling. His films need to be read closely, from beginning to end. There are no lulls with Cassavetes, no breaks in rhythm; they’re not broken down the way most . . .