Mabel, a wife and mother, is loved by her husband Nick but her madness proves to be a problem in the marriage. The film transpires to a positive role of madness in the family, challenging conventional representations of madness in cinema.
Ten years of Marianne and Johan's relationship are presented. We first meet them ten years into their marriage. He is a college professor, she a divorce lawyer. They say that they are ... See full summary »
An almost accidental romance is kindled between a German woman in her mid-sixties and a Moroccan migrant worker around twenty-five years younger. They abruptly decide to marry, appalling everyone around them.
Rainer Werner Fassbinder
El Hedi ben Salem,
19-year-old Tomek whiles away his lonely life by spying on his opposite neighbour Magda through binoculars. She's an artist in her mid-thirties, and appears to have everything - not least a... See full summary »
Peter Falk is a blue collar man trying to deal with his wife's mental instability. He fights to keep a semblance of normality in the face of her bizarre behavior, but when her actions affect their children, he has her committed. Written by
BA Jacobson <firstname.lastname@example.org>
John Cassavetes, could not find any distributor for this film after completion, and was at one point literally carrying the reels of the film under his arm from one theater to another in hopes of getting one to play his movie. Finally, 'Martin Scorcese' , who had recently become a critically acclaimed director thanks to his film Mean Streets (1973) and happened to be a huge fan of Cassavetes' work threatened to pull his film Alice Doesn't Live Here Anymore (1974) from a major New York film festival unless they accepted this film. See more »
In the scene at the end of the film when Nick and Mabel are putting the children to bed, the boom mic is visible on the left side of the screen poking out from behind the door frame just after Nick exits the room and Mabel is about to turn off the light. See more »
This is probably one of the most intense films ever made, but to label it "intense" is to almost do it injustice. After all, almost all of the greatest works of art are intense, aren't they?
Although it is quite possible to find certain themes that run through this work, the movie almost seems to resist themes. Within its two-and-a-half hour running time, John Cassavetes touches on some of the most indescribable emotional states that human beings ever experience.
Technically, the film is equally excellent, with a nice minimalist score by Bill Harwood, softly beautiful cinematography, and fascinating editing. But all of this is merely in service of the brilliant performances by Rowlands, Falk, and the rest of the cast.
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