Film Review

Diary of a Mad Housewife (1970)

There is something about American films of the 70’s. Many offered frank and artful depictions of adult situations laced with social conscience and a realistic use of language and sexuality. Diary of a Mad Housewife is a good example of this. It’s an awkward comedic drama and social satire that hammers away at the self-centered success-oriented nature of North American society. Has anything changed since 1970? The film depicts the dreary life of upper middle class housewife Tina Balser (Carrie Snodgrass) and the appalling men in her life: two of the most loathsome male characters in film. I once watched this film with a female friend who was traumatized for two days because Jonathan, the self-obsessed spouse of Tina, reminded her of her ex-husband. Oh man, I feel for you Lucy!

Tina struggles with her traditional “housewife” role. She is obedient to her husband and seems to be struggling with depression. Her husband Johnathan in one scene openly informs her that he is the bread winner and head of the family. He wants her to see a psychiatrist and tells her to "pull herself together."

Although the film is centered around Tina and her bleak masochistic existence, the story really sparkles with the two male characters. Jonathan (Richard Benjamin) is an upwardly mobile lawyer who pathetically and pathologically strives for acceptance from New York’s elite. He’s psychologically abusive, hypercritical of Tina, and totally repulsive. The early scene in an elevator where he dictates what he needs packed for a business trip is a stunner. As an outlet - or respite - from her marriage (and her demonic daughters), Tina starts up a relationship with a writer, George Prager, who she meets at a party. When the two try and set thier first rendevous, Tina implies she is very busy to which george responds "Your life really is full of crap isn't it?" George (played by Frank Langella), is a narcissistic intellectual and manipulator who Tina find very seductive. The affair at first looks like a rescue for Tina who is impressed by George. There is a subtle ambiguity to the writers character that is very interesting. His ego it gigantic but at the same time he seems vulnerable. Tina soon realizes he’s no improvement over her husband. Both male characters are played so far over the top they come across as uncomfortably comedic. Between them they contain almost every disagreeable male trait. So there is something for everyone, and especially men, to feel unconsciously uncomfortable.

Bouncing between these two males, Tina plods along, unable to rise above her situation. She’s educated and attractive, and yet she comes off weak and rarely battles for her rights. She does briefly stand up for herself, when she “loses it” in front of her children during an awkward family dinner. Then again when she gets under George’s skin, by emasculating him. But then she backs down. The polarity between Tina and the male characters feels a little exaggerated, but it does work as a device to ramp up the satire, exposing the elements of the toxic male dominated society that many women endured during the period...and still do today.

By the end of the film there is no resolution. We are left with a confessional from Jonathan, a group therapy session with Tina, and much to ponder.

Note: The film is directed by Frank Perry and written by his partner Eleanor Perry. This team also did “The Swimmer,” which is also a notable film.

PS. Look for an early version of the Alice Cooper Band performing during a party scene.

March, 2010, By John Farr

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