I decided to watch A Rage to Live on a whim and am very happy that I did. Suzanne Pleshette gives a wonderful performance. Seeing her here makes me wonder why she never became a bigger star than she did. Along with her unique beauty she is also a completely unique and talented actress. Anyway, she's great and so are Dillman and Gazzara. The story seems a bit dated but looking back to my time a decade later than this film takes place, I can recall seeing this type of double standard between men, women, and sex quite often. As such, it's not as outdated as it seems or actually should have been by this time. Overall, I enjoyed A Rage to Live.

Grace isn't that bad. She just meets the wrong men. With the right partner she'd have been pretty normal.

This is nothing but unintentional comedy. I know double standards still exist today, but did people really take this seriously in 1965? Strictly for laughs.

Watch out for the brief appearance by Brett Somers as a big crouch.

I thought that "A Rage To Live" was a fine -yet tragic- portrayal of a nymphomaniac (Suzanne Pleshette) struggling to find personal identity outside of the bedroom, auto backseat, etc. Also, the meaning & outer realms of "love" and how it factors into a one-sided, non-monogamous marriage. Ben Gazzara's character is very dark; a hard-working Irishman who desires material wealth as well as the flesh. There are several story lines that branch from Pleshette's infidelities, one of which brings a psychologically tragic aspect to the film. A feminist approach to this film might suggest that all of the other women in the film were overly (yet appropriately for the times) supportive of their husbands alone, living or deceased. Pleshette's character felt the need to find her true self with the help of emotional love, given to her for the first time by her husband. She constantly admits to having a "problem that she is embarrassed about", however she seeks no real counsel or help. Pleshette almost appears too aware of her faults yet acts baffled when she is caught. Her character is too assuming of others' forgiveness, using the age-old "I said I was sorry" routine almost every time. The "encounters" are subtle and portrayed very tactfully as well, I suppose because it was still the 1960's; I would hate for this film to be remade because I'm sure that some of the scenes would have overblown sexual situations.