The Man Who Had Power Over Women Review
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If you’re looking for a vintage romp, this isn't it. But if you want a biting, cynical look at the dark side of fame and the collapse of the 1960s dream, it remains a compelling—if bleak—piece of media.
When Gordon Williams’ novel first hit shelves, it was both a bestseller and a lightning rod for criticism. It arrived just as the "Summer of Love" was fading into the gritty, paranoid 1970s.
"The Man Who Had Power Over Women" is a fascinating piece of pop culture history that exists at a strange crossroads of 1960s hedonism and the crushing reality of the "mid-life crisis" before that term was even a household name. The Man Who Had Power Over Women
The 1970 film adaptation took this even further. Directed by John Korty, it used a fragmented, almost frantic editing style to mirror Reaney’s mental breakdown. It wasn't the breezy comedy audiences expected from the title; it was a psychological dive into a man losing his grip. The Legacy of the "Power"
However, beneath the polished exterior, Reaney’s life is a disaster. His marriage is disintegrating, his friendships are transactional, and he is haunted by a profound sense of emptiness. The "power" he holds over women is revealed to be a shallow substitute for genuine connection; he can attract them, but he can’t value them, and he certainly can’t keep himself happy. Why It Was Controversial If you’re looking for a vintage romp, this isn't it
The title itself is a bit of a trick. By the end of the story, it becomes clear that Reaney has no power at all—least of all over himself. He is a slave to his impulses and the very industry he helped build.
The story follows Peter Reaney, a successful, high-flying London talent agent who seemingly has it all: the clothes, the car, the career, and—as the title suggests—an effortless magnetism. He is the architect of other people's fame, a man who spends his days manipulating the desires of the public. It arrived just as the "Summer of Love"
Today, the work is often viewed as a precursor to the "sad boy" or "flawed anti-hero" tropes seen in shows like Mad Men . Peter Reaney is, in many ways, the British cousin of Don Draper—a man who can sell a fantasy to everyone except himself.
If you’re looking for a vintage romp, this isn't it. But if you want a biting, cynical look at the dark side of fame and the collapse of the 1960s dream, it remains a compelling—if bleak—piece of media.
When Gordon Williams’ novel first hit shelves, it was both a bestseller and a lightning rod for criticism. It arrived just as the "Summer of Love" was fading into the gritty, paranoid 1970s.
"The Man Who Had Power Over Women" is a fascinating piece of pop culture history that exists at a strange crossroads of 1960s hedonism and the crushing reality of the "mid-life crisis" before that term was even a household name.
The 1970 film adaptation took this even further. Directed by John Korty, it used a fragmented, almost frantic editing style to mirror Reaney’s mental breakdown. It wasn't the breezy comedy audiences expected from the title; it was a psychological dive into a man losing his grip. The Legacy of the "Power"
However, beneath the polished exterior, Reaney’s life is a disaster. His marriage is disintegrating, his friendships are transactional, and he is haunted by a profound sense of emptiness. The "power" he holds over women is revealed to be a shallow substitute for genuine connection; he can attract them, but he can’t value them, and he certainly can’t keep himself happy. Why It Was Controversial
The title itself is a bit of a trick. By the end of the story, it becomes clear that Reaney has no power at all—least of all over himself. He is a slave to his impulses and the very industry he helped build.
The story follows Peter Reaney, a successful, high-flying London talent agent who seemingly has it all: the clothes, the car, the career, and—as the title suggests—an effortless magnetism. He is the architect of other people's fame, a man who spends his days manipulating the desires of the public.
Today, the work is often viewed as a precursor to the "sad boy" or "flawed anti-hero" tropes seen in shows like Mad Men . Peter Reaney is, in many ways, the British cousin of Don Draper—a man who can sell a fantasy to everyone except himself.