The Stepford Wives
by Mark SellsThe Stepford Wives is a remake of Bryan Forbes' biting '70s cult hit about status quo, social values, and suburbia. It deals with a society of chauvinistic men, their pleasing women, and the horrible truth that dictates their behavior. Directed by Frank Oz, this updated version casts Nicole Kidman and Matthew Broderick as a couple that moves to the upscale Stepford community, where everything exudes a fantastical perfection.
Joanna Eberhart (Kidman), successful president of EBS, a television network that specializes in reality programs with a feminine edge, fails to garner support from her network's affiliates, is fired, and then suffers a nervous breakdown. To help her recoup, her husband moves her to a quiet, upper class community in Stepford , Connecticut . But the real reason for the move, says Walter, is so that “we can be the happiest family in
the whole world.” Upon their arrival, Joanna and Walter are instantly welcomed by Mike and Claire Wellington (Christopher Walken and Glenn Close), the town's main representatives, and are ushered into the Stepford Men's Association and the Stepford Day Spa for women. Beneath all the artificial hellos and how-do-you-dos, something doesn't seem right.
At a community picnic, Joanna makes friends with Bobbie Markowitz (Bette Midler), a Jewish writer and recovering alcoholic famous for her motherly story, “I Love You, But Please Die.” Bobbie and Joanna seem to be the only women who are dressing and acting differently. Together they attend book club meetings, fitness classes, and political rallies, finally concluding that the wives of Stepford are inhuman -- cleaning to perfection, dressing for success, satisfying their husbands sexually, and studying up on the latest Christmas recipes and crafts. Furthermore, Joanna and Bobbie notice an odd behavior in their husbands, almost a dismissive attitude about their findings, and decide to investigate the mysterious happenings behind the closed doors at the Stepford Men's Association.
The Stepford Wives originally hit the theaters in 1975 as a psychological thriller, starring Katherine Ross and Peter Masterson in the leading roles, and it went on to spawn several remakes and television spin offs, etching itself permanently into pop culture. The remake, adapted by Paul Rudnick from the book by Ira Levin, quickly falls in and out of form, losing the social significance of the original, and exhibiting a cozy complacency. Levin's sinister mood and suspenseful pacing have disappeared. Flitting back and forth between black comedy, thriller, and psychological drama, the film is more like a jack of all genres and a master of none. Some of this can be attributed to the screenplay, which is too hesitant in establishing characters, direction, and purpose. For instance, Joanna is the lead character, but there isn't enough sentiment built around her to offset the damage she does early in the film. And we don't see enough of her marital relationship to care whether it gets saved or not. We also don't get to see much of the Eberhart children, who are basically dropped after the first 15 minutes.
Rudnick no doubt leaned toward a more modern and comic version of Stepford . However, because so much of the story is rooted in the social values of the late 60s and 70s, the updated elements tend to stand out like a sore thumb: Joanna and the reality television craze, a robot acting as an ATM, brain implants, and a Stepford wife born out of the Queer Eye phenomenon. Most unpolished is the dialogue, which is often so clunky and forced that Rudnick smears the awkward moments with passé humor. And I haven't even mentioned the barrage of subliminal advertising and product placement that appears ad nauseam.
Oddly enough, the casting of the film is actually pretty good. But with a weak script, it makes the talented actors look like they
are struggling. Kidman portrays her character with an emptiness and cynicism that is distant and completely disconnected. Broderick desperately tries to work around the porous dialogue with his boyish charm, but to no avail. Because the Eberharts have nothing at stake, and no sense of urgency, they wind up seeming dull and lifeless. That leaves room for the supporting stars to spice things up, and Midler, Walken, and Close fill in nicely, adding their usual sophistication and wit.
Although I'm a fan of Frank Oz, I have to question his intent and leadership on this film. The original production was significant because it satirized the societal misgivings about the feminist movement and the role of a woman in society as it was evolving during the early 70s. But today, that image is much different. The happy homemaker no longer looks like Donna Reed, replete with aprons and candy colored sundresses. And the film does nothing to update the look and feel, assuming that the modern man still envisions the perfect modern housewife as June Cleaver. The film refuses to either go all out with comedy, or emphasize the suspense and horror elements. With only a few moments of laughter or excitement, it's plain to see that this Stepford is far from the paradise it sets out to be.
©2004 Mark Sells
CineScene
