A Woman Under the Influence
BUY AT:
See more details, packaging, or compare
Synopsis
This uncompromising portrait of domestic turmoil details the emotional breakdown of a suburban housewife and her family’s struggle to save her from herself. Gena Rowlands and Peter Falk give unforgettably harrowing performances as a married couple deeply in love but unable to express their ardor in terms the other can understand. This landmark American film is perhaps the most beloved work from the extraordinary John Cassavetes.
Picture 7/10
Previously available only as part of the Blu-ray box set John Cassavetes: Five Films, The Criterion Collection now presents A Woman Under the Influence in its own standalone Blu-ray edition. The film is again framed in it original aspect ratio of 1.85:1 and housed on a dual-layer disc with a 1080p/24hz high-definition presentation.
Though there is apparently a new 4K restoration available, Criterion instead reuses their now 20-plus-year-old high-definition restoration, sourced from a 35mm color reversal internegative. In fact, this isn’t just the same restoration used for the 2013 Blu-ray, it’s literally the same disc, artwork aside (it even still includes the Timeline feature, which Criterion dropped from their new releases a few years ago). As for why they’ve opted not to use the newer restoration, one can only assume access wasn’t possible and they still wanted to make the film available outside of the box set.
Given that this is essentially a replication of the 2013 release, I wasn’t going in with especially high expectations, even though I was impressed with it at the time. Yet, somewhat surprisingly, dated elements of the restoration and base master aside, it still holds up remarkably well. The image remains thoroughly cleaned up, with only a few stray marks and possibly a missing frame or two lingering. And despite the elements being at least a couple of generations removed from the original negatives, detail levels are respectable. It’s never razor-sharp, but fine detail holds up nicely and overall definition remains strong.
The encode does well enough, but it's far from flawless, admittedly. Grain is pretty heavy and it's handled surprisingly well for what is essentially an older high-def master. There are moments where it grows noisy, particularly in brighter highlights and some darker interiors, where mild blocky patterns can creep in. Even so, the presentation still manages to look fairly film-like much of the time
Yes, a new restoration would outclass this master, there's no question of that. But for whatever reason, that doesn’t appear to be in the cards at the moment. Even with its dated underpinnings, this still remains a good presentation. For those who already own the box set, this is an easy pass. But for anyone who has been waiting to own the film on its own (including those who skipped BFI’s edition) this standalone release still does well.
A Woman Under the Influence - Screen Captures
Audio 6/10
I ended up not being quite as impressed with the monaural presentation this time around, again delivered in lossless single-channel PCM. The restoration has cleaned things up nicely, leaving behind no significant damage, and dialogue comes through clearly, which is no small feat considering some of the technical issues that arose during production (touched on in the included commentary).
That said, the track does feel somewhat constrained. Even during the film’s louder or more emotionally charged moments, dynamic range remains limited, and there’s a slightly flattened quality overall. I also can’t help but suspect some filtering may have been applied, which may account for the restrained higher ends. It’s certainly serviceable and clean, but it doesn’t have quite the vitality one might hope for.
Extras 8/10
Since this is literally the same disc from the box set, all of the supplements have been carried over, starting with the audio commentary featuring cameraman Mike Ferris and sound mixer/composer Bo Harwood, both longtime Cassavetes collaborators. I remember being slightly underwhelmed by this track in the past, but to my surprise I found myself enjoying it more this time around.
Recorded together, the two cover the production and their respective contributions, often leaning heavily into the technical side of things (unsurprisingly). Harwood goes into detail about what Cassavetes wanted from the score and how he went about creating it, while also explaining that he was essentially responsible for all things sound-related—from recording to mixing—despite having limited experience at the time. This inevitably led to challenges, like wireless microphones cutting out mid-scene, forcing him to piece together dialogue from other actors’ mics during the mix.
Ferris was similarly new to operating the camera, and like Harwood, describes the shoot as a learning experience filled with trial and error. Having Haskell Wexler step in for a few days proved invaluable from a learning perspective, but much of the work required anticipating what the actors might do and being ready to follow their movements at a moment’s notice. Ferris also admits there were times he disagreed with Cassavetes’ approach and offered suggestions, though the director rarely, if ever, took input.
That naturally leads into broader discussion about Cassavetes himself: his working methods, his intensity, and his quick temper (especially if an actor couldn't be bothered to memorize lines). They share stories about how he handled actors differently depending on the individual, being especially tough on some while more relaxed with others (it sounds like he and Peter Falk had a particularly easy rapport). Beyond production anecdotes (and there are plenty) they also discuss the film on a thematic level, touching on the central relationship and even acknowledging aspects of the film (and Cassavetes’ work more generally) they find frustrating, despite ultimately finding them impactful.
In the end, I found the track far more engaging this time around. I’m not entirely sure why it didn’t land with me initially, but Ferris and Harwood keep the conversation flowing for the film’s full running time and approach it from multiple angles, both technical and reflective.
Also returning (and still quite strong) is the 17-minute filmed conversation between Gena Rowlands and Peter Falk. The two more or less interview each other, discussing the film and Cassavetes. Falk’s comments about his admiration for, and occasional frustration with, the director are particularly interesting, especially when he reflects on working methods during Husbands.
Next is a substantial 74-minute audio interview with Cassavetes conducted by Michael Ciment in 1975, divided into seven chapters. The discussion focuses heavily on A Woman Under the Influence, though it expands to cover his broader approach to character development, his directing process, and whether his method changed when working with Rowlands. Cassavetes comes across as deeply passionate and thoughtful, making for a still rather fascinating discussion.
The disc closes with a set of production galleries featuring on-set photos, along with the theatrical trailer. Criterion also includes a booklet sampling material from the larger box set's booklet, featuring an essay by Kent Jones and a reprint of a 1975 interview with Cassavetes by Judith McNally, which focuses more broadly on his body of work.
Overall, it’s a solid collection of supplements that covers the film from several angles, with the commentary emerging as more of a highlight for me this time around.
Closing
The film certainly deserves an updated presentation, and hopefully that newer 4K restoration eventually makes its way to home video, but taken as is, this remains a respectable release. For anyone looking to own the film on its own, separate from Criterion’s box set, it’s still a perfectly solid option.
BUY AT:
