Diary of a Mad Housewife
Diary of a Mad Housewife

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- 70/100 based on 2,039 votes

Tina Balser is a bored New York housewife-mother married to Jonathan, a pompous, social-climbing lawyer who ridicules her in front of their children, criticizing everything she does or wears. She begins an affair with George Prager, a dashing, successful and blatantly sadistic writer. Finally after George has tormented Tina in much the same manner Jonathan has, and has been unfaithful to boot, she goes back to her husband and begins group therapy.... (Full plot summary below)

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Actors in Diary of a Mad Housewife:

Carrie Snodgress
Richard Benjamin
Frank Langella
Lorraine Cullen
Frannie Michel
Lee Addoms

Full Plot Details

Tina Balser is a bored New York housewife-mother married to Jonathan, a pompous, social-climbing lawyer who ridicules her in front of their children, criticizing everything she does or wears. She begins an affair with George Prager, a dashing, successful and blatantly sadistic writer. Finally after George has tormented Tina in much the same manner Jonathan has, and has been unfaithful to boot, she goes back to her husband and begins group therapy.

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Movie Reviews

New York Times - 9/10 by Roger GreenspunAmong the performers, Carrie Snodgress will surely receive the critical praise she deeply deserves.
Chicago Sun-Times - 8/10 by Roger EbertWhat makes the movie work, however, is that it's played entirely from the housewife's point of view, and that the housewife is played brilliantly by Carrie Snodgress.
Variety - 7/10 by Variety StaffAn engrossing story of the disintegration of a modern loveless marriage.
User Review - 10/10 by Gregory WThis movie was one of the world's first insights to the Alice Cooper Group's crazy stage antics. They did a heavily modified version of Steppenwolf's "Ride with me" during the party scene. Following that they crash their set and Alice tears up a pillow (which he did at all their concerts then) and then the scene ends. This movie is worth owning just for that...and the sex scenes!!
User Review - 10/10 by Aj VThe story of an average housewife who is married to the most annoying man in the world, you can't blame her for cheating on him! You sympathize with her. This is a fantastic drama, very psychological and intense. Plus, there's a scene with an early Alice Cooper band playing at a party! Check it out, it's cool.
User Review - 10/10 by harryAnother in the long list of movies that raises the question, "If 'Meatballs 4' can be on DVD, why can't this???" Hilarious and brutal- it's a study in masochism set in the urban nightmare that was late sixties/early seventies New York. I loved the shot of the two rats Tina (Carrie Snodgress) stumbles upon early in the film. Do they somehow represent Tina's husband Jonathan (Richard Benjamin) and her lover (Frank Langella)? Well, why not? Amazing editing (some terrific jump cuts) - stunning sound design - and great acting. Richard Benjamin might be overplaying the tiniest bit- but, then again, there are a lot of the people in the film who sort of declaim their lines in a near hysterical tone. The scene with the baby sitter asking Jonathan to sue the city for her as she raises her skirts to crotch level is everything this movie is all at once- disturbing, unsettling, annoying and weirdly mysterious. See it however you can and then pine for the beautifully transferred DVD sometime in the future.
User Review - 10/10 by Patty MAn amazing exploration in to the life of a woman who cheats, which achieves its goal much better than the "meh" worthy "unfaithful" There is a theory that in life we are attracted to only one person, who we find in different bodies and occupations, and i believe this movie showed greatly how a mind accustomed to abuse, seeks out abuse, going from an abusive husband to an abusive lover.
User Review - 8/10 by joanne rCarrie Snodgress' exceptional Oscar nominated performance is the highlight of this very stylishly directed film. Frank Perry did a great job directing. Well written, good cast. Richard Benjamin is ideal in his role.
User Review - 8/10 by Matt K***1/2 (out of four) Carrie Snodgress garnered a much deserved Oscar nomination for her role as a bored housewife who has an affair to relieve her mundane existance. A fine example of early 1970's self exploration.
User Review - 8/10 by Eric BThe film heroes who involve me most aren't saints, or even rebels. They're everyday people who are accosted by wrong done to them and face their predicament: Frank Perry's film is about a stunningly tolerant young woman who has by some means gotten herself married to the most arrogant imbecile in Manhattan. He's narcissistic, heartless, self-unaware, childish and bitchy. He backs "his" kids against his wife. He thinks her a household drone, suited to chores during the day, and, perhaps, a "little roll in de hay" at night. He debases her in the presence of others, as he does himself, too, by his unashamed status-seeking. Does she loathe him? Not precisely. Set in chic Central Park West and the East 50s among vigilant and quite well-heeled people, this engrossing oddity is to considerable degree about the routine and the material environment of its principals. Benjamin, a law partner, seeks recognition by that exclusively New York influential society that exists by and for the distinction of its style and the legal tender of its judgments. To this end, he buys art and wine, attends openings, reads Variety and cruelly directs his wife. Snodgress, attractive, straight-haired, blonde, Smith, civilized, mild, tormented not just by her husband but also by a pair of repugnant daughters, finds respite of sorts in the bed of Langella, a writer whose fallacy is that he's without misconceptions and who's as fanatical with his sex as Jonathan is with his wine cellar or Eskimo bird nonchalantly flaunted on the coffee table. While her world is mad, Tina is rather commonsensical. She's not even, to recognize the jibe in the title, very overtly outraged as she must be, and at the end her triumph, minor and very awkward, are the conquests of greater emotional and psychological stability, bringing about awareness over action. Frank Perry and his screenwriter wife's provocative, offbeat film is keen to jiggle around with its concept of personality, actually to see those ideas as a deception in their own right, in its beautifully dramatic performances, and in its steadfastness to its visual restraint. Among the cast, Snodgress, lean, with a hoarse voice and an astuteness that persistently saves her from sentimentality, has the benefit, as the point-of-view character, of being followed but never precisely clarified, as opposed to Benjamin and Langella. Both men are characterized by their fixations, and both in due course helpless without their sufferer's indulgence. It seems for that reason all the more notable that they've both intensified their performances, Benjamin for caricature and Langella for personal ambiguity in a skillfully multifarious take-off, beyond the promise of their written roles. The Perrys' spiritual awakening is a film of interiors, with hardly any outer walls, which it deals with not so much with an eye for precise nuance as with a readiness to work through hemmed-in places. Mainly in the scenes between Snodgress and Langella, in an East Side apartment in which the afternoon sunlight over Queens and the river looks virtually as exquisite as in life, Perry has positioned his actors within a thoughtful geometry formed by the interaction between walls, furniture, faces, bodies and the facilitating confines of the movement within the frame. In these scenes, and some others, Diary of a Mad Housewife eludes its genre, its comprehension of affairs and intentions, and becomes the class of current and well-structured predicament that indicates great filmmaking.

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