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'Under influence' plot inconsistent, yet absorbing RY TERRY DUGAS Gamecock Staff Writer There has been a tremendous upsruge in the past year of films commenting on the problems of women. "A Woman Under the In fluence". John Cassavetes' latest entry, cannot be seen, however, as a universal statement on men, women or marriage. Cassavetes makes his characters and situations much too unique. Cassavetes tells a highly emotional story of the mental disin tegration of Mabel, a middle class housewife; yet he manages to avoid a simplistic assignment of guilt. This ambiguity, one of many, greatly unsettles the audience which would like to blame alternately her blue collar husband Nick, Nick's domineering mother, and Mabel's own parents. The audience's uncertainty as to the cause of Mabel's break down leads to an involvement beyond that normally experienced with a film. Mabel's breakdown started long before the audience first meets her. Plagued by flights of fantasy, she desperately searches for reassurance and commitments. Her insecurity is hightened by the unpredictable work hours of her husband. However, the story is far more than a simple study of the neglected housewife. Mable's relationship to Nick is the central and most ambiguous one in the film. There is no doubt as to Nick's love for Mabel nor his desire to help her. At time, however, Nick appears to be emotionally unstable himself, his own control slipping as Mabel's slips. Under the pressure of her illness, he is subject to fits of violent anger and. for the first time, begins to strike Mabel. His instability is compounded by his imagined loss of face before his fellow workers due to his "looney wife." Nick undergoes a terrible struggle to maintain an illusion of normality. He screams at Mabel that she has not'done anything wrong, says that he loves her in an almost ritualistic chant, and hysterically assures her that everything is alright. Despite his love and concern for her, Nick is unable to see the nature of Mabel's illness. He forces her to face a world for which she is un prepared. In an attempt to be a normal couple Nick invites his entire work gang over for dinner. The episode helps neither Mabel nor his pride. After Mabel returns from a six month stay at a sanatorium, Nick screams at a dinner party that everybody should carry on nor mal conversation such as work, kids, weather. He never sees that the appearance of normality cannot help Mabel. Nick's inability to see the nature of Mabel's illness is shared by the rest of the characters in the film. Nick's mother is determined to protect her boy by having Mabel committed. There is no malace in her actions, just a fierce and dominating loyality to her son which causes her to misjudge Mabel's problems. Even Mabel's own parents cannot see what she needs. They offer no hope, no understanding--only bewilderment. Even Dr. Sam, the family doctor called in to help Mabel, does not know how to cope with her. He resorts to sedatives and committing her to an institution when he realizes he cannot help. The audience is as bewildered by Mabel as are the characters in the film. This bewilderment is caused by the unanswered questions raised by writer-director Cassavetes. We see neither the beginning nor the cause of Mabel's illness. Was it Nick? After she returns from the sanatorium, sedated but still disturbed, -Nick shows no more un derstanding towards her than before she was committed. This lack of understanding will force Mabel to loose her control again even after her "cure," but does this mean that Nick caused her breakdown? Was it her situation at home? Nick's mother is as protective of Nick after Mabel returns as she was before she left, but it cannot be said that her presence caused Mabel's mental illness? Since the cause of the breakdown is never revealed, no cure is in sight. Like the people in the film, the audience is confused by her breakdown and unsure of how she may be helped. Cassavetes has carefully manipulated the film so that the audience feels as helpless as the characters in the film. The audience sees that Miabel's family will not be able to help but it cannot suggest any alternate course of action. A general feeling of frustration was evident as the patrons left the theatre. Aside from plot nuances the strong point of the film is the acting of Peter Falk as Nick and Gena Rowlands as Mabel. People familiar only with "Columbo" are surprised to find that Falk is a superb dramatic actor. His portrayal of a man unable to stop the destruction of his loved one and family is forceful. Gena Rowlands excells in portraying the confuped and stricken Mabel. Even in her most ab normal frames of mmnd, Rowlands commands a feeling of sympathy and understanding. The photography of the film helps parallel the confusion and darkness of the lives of the characters. Clostrophobic shots of stair wells and hallways dominate the interior of Mabel's house. Dark tomes and subdued lighting keep any feeling of order or clarity from appearing. Even the scenes shot outdoors are subdued and help promote the mood of disorder and insecurity. The movie does have one main flaw. It is two hours and thirty-five minutes long. Some of this time is unnecessary, being filled with small talk which does little to reveal character. Still, the important scenes are so intense that any feelings of boredom are dispelled as the audi ence is carried into the hopeloe world of Mabel Longhetti CHEAP AT DzIk's I Happy Hour 4 Budweiser Draft 20* We have ti Reno Pierre Blue Tel * Pedestrians should hal on Green St. Make th4 922 S. Main (Behind ABE I * 0 @6* * * mootsball Y Mon. -at. -' Pitcher$1.25 2e best Ps in the area we the rightof-way * cars wait on you. Capitol Bldg.) 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