The Stepford Wives Movie Review:


As enjoyable as Frank Oz’s remake of The Stepford Wives is, the numerous inconsistencies in the final twenty minutes of the film bring it down from admirable to passable. Based on Ira Levin’s novel of the same name, this new film version is a comedic look at the aspects of marriage, consumerism, perfection, and materialism. The 1975 cult version of the film starring Katherine Ross was a dark psychological thriller that literally made your skin crawl. Referred to as a retooling of that film and the book, former right hand man to Jim Henson, Frank Oz, brings forth his comic wit to the updated and spin on the story.

Joanna Eberhart (Nicole Kidman) is the youngest president in the history of EBS television. Joanna’s husband, Walter (Matthew Broderick) also works for EBS and she is also raising two wonderful kids in her fast-paced New York lifestyle. However, once one of her new television shows antics backfire, Joanna herself is fired as president. She immediately suffers a nervous breakdown, and Walter decides that it is time for their family to move on.

Looking for a new beginning, the family moves to the perfect suburban paradise of Stepford, Connecticut. The houses are immaculate, there is no poverty, no crime, the people are pleasant, and Stepford is just so perfect. The Stepford women themselves are always smiling dressed to the town’s style of bright colors. They are also beautiful and have incredible sex with their nerdish husbands. Joanna pleads with Walter the "unnormalcy" of Stepford, but he thinks she is just being selfish. Walter finds himself loving the small town, and the Stepford’s Men Association, which is a group of husbands that do things only men would do. Joanna makes a pack with other suspicious newcomers to Stepford, outspoken writer Bobbie Markowitz (Bette Midler) and gay architect Roger Bannister (Roger Bart). However, as the trio begins to find out more and more about the secret of the Stepford wives, things become more and more dangerous for them.

The Stepford Wives was a trouble plagued production all throughout shooting, including last month when Oz brought back his cast for more reshoots. Besides serious tension between the director and his actors Christopher Walken and Bette Midler, Oz sought out to make this film work and admitted that there is tension on every movie set. Among the alterations in the production was the ending of the film, which sticks out like a sore thumb with inconsistencies. Without spoiling the secret of the Stepford wives, it is difficult to divulge the troubles within this film’s final twenty minutes. It is evident that the ending is misguiding for audiences, a waste of props, and really hurts the film more than it completes it.

Oz does do a viable job with his deliver of the comedy in the film. The moments of the Stepford Wives’ mishaps are amusing, but become pointless due to the concluding changes. The atmosphere is bright and cheery and no matter what problems that were exchanged between the director and the cast, it seems his actors did enjoy themselves.

There is no way to compare this version by Oz with the1975 version, they are two totally opposite films, even though Oz does have some shot for shot similarities in this version, such as the grocery store sequence ending. The 1975 film was campy, it was dark and it is intriguingly one of a kind. This new version is more of a dark comedy, that could have been prolific in its own way, but too many idea changes have hampered it.

The updated screenplay by Paul Rudnick (In & Out) has added more updated factors to the Levin’s premise, and as stated numerous times before is a comedy with a totally different ending. Rudnick centers the attention more on Joanna and Walter’s relationship, rather than just relying on Bobbie and Joanna’s friendship as did the previous film version. Rudnick does make this film question love for one another more so than all the other aspects of consumerism and wanting the perfect life. Also new is the character of Roger, who is effectively added to make a trio of questioners with Bobbie and Joanna. There are other characters that do arise without much depth, but it does not actually hurt the film. The problems with Rudnick’s script as with Oz’s choices are the irrelevant and obvious changes made in the final act to make the film painfully inconsistent.

Nicole Kidman is solid in her role as the incumbent but strong Joanna. She is a little over the top with her television president mode in the first few minutes of the film, but she still delivers an efficient performance. Bette Midler delivers some of the film’s best laughs as the outspoken Bobbie. Faith Hill makes her on screen debut as one of the Stepford women and plays the role accordingly. Glenn Close is also radiant as the prolific Stepford wife Claire. As for the men, Matthew Broderick and Christopher Walken do what is expected from them in each of their roles as part of the Men’s Association. The real scene-stealer of the film is in fact by Roger Bart, who plays the frantically amusing gay newcomer to Stepford Roger Bannister.

The Stepford Wives is funny and entertaining, it makes its point about love and wanting the perfect live. However, the mishaps with the flow and continuity of what the Stepford secret is, along with the out of nowhere twist really deteriorates the film. It is so obvious that the film had to include reshoots at the last minute and the filmmakers did not have enough time to clean up all the effects of the changes. Fans of the original film version should know that this version is a total opposite.

Grade: C

Joseph Tucker

“The Stepford Wives”, classic 1975 sci-fi horror film escalated the paranoia that everything you know isn’t always what it seems. The idea of replacing your mate with a robo-duplicate was horrific and absurd. The original Stepford concept was just that, horrific.

In the remake of the 1975 classic, Joanna Eberhard (Nicole Kidman) watches as she takes a tumble off the corporate ladder while she is at the top of her game. Her husband, Walter (Matthew Broderick), decides to take his family to a quiet secluded Connecticut town called Stepford.

Joanna is awe-struck when she witnesses all the women of this new quaint little town. They all seem to have been struck by a “Barbie” virus. Even more shocking is that Walter doesn’t seem to mind.

Joanna makes friends with other new Stepford arrivals Bobbie Markowitz (Bette Midler) and Roger Bannister (Roger Bart). The new friends decide that they have to uncover what is happening in Stepford and what is the secret to the town’s bliss. The truth could be more sinister than they realize.

This new incarnation of the classic film is a completely new take on the whole Stepford concept. It is humorous and witty with an incredible ensemble cast. The horror element has been scaled way back to make room for the comedy.

Why there is no horror concept in this version of Stepford is because the world that Joanna comes to in Stepford is like stepping back into the 1950s. The dresses, hairstyles, and ideas on what marriage is all about are all so out of date. People in a town like that would have to be robots or at least be filming a “Leave it to Beaver” reunion movie.

The only concept that seems to step away from Joanna being trapped in the 1950s is the inclusion of the gay couple of Roger and Jerry. But the whole controversy of Connecticut being the only state to allow gay marriages makes their inclusion even more hilarious.

I really enjoyed the original Stepford concept because the whole idea of robots replacing our mates was always under the surface and the concept melded into the society of the 1970s. If this new version wanted to accentuate the horror element of Stepford than the quiet town shouldn’t have been so foreign but felt and looked like today. Then slowly watch as Joanna came apart and saw that the robo-duplicates had invaded her realm without her knowledge. Now that is horror.

As for the film’s ending, it does feel a little forced but does follow the film’s new vision of the Stepford concept. A horrific finale wouldn’t have made a lot of sense since the film is such a drastic departure from the original.

The reason the comedic elements of this new Stepford film work is because of the stellar cast and the witty dialogue. Kidman and company are all brilliant in their respective roles. I just felt that Christopher Walken, Matthew Broderick and Faith Hill were all vastly underused or underappreciated. I do feel that if this version was the horror one that these characters could have been a lot more effective.

If you like original or were looking for a thriller laced in social paranoia than this version probably isn’t for you. But if you like light laughs, an all-star cast and a little bit of sci-fi than you will probably love this film.

(3.5 out of 5)

So Says the Soothsayer

Dean Kish

This spicy remake of the 1975 thriller (based on Ira Levin's bestseller) walks a very fine line between black comedy and suspense movie. But with its smart script and dead-on comic performances, it actually works as both.

After Joanna (Kidman) loses her high-powered Manhattan TV exec job, her husband Walter (Broderick) seizes the chance to start life over again without all the stress. So they pack up the kids and move to an idyllic suburb called Stepford. While Walter joins the local men's association, Joanna quickly befriends two other new residents--a sassy writer (Midler) and a gay architect (Bart). This trio of amateur sleuths decide to investigate the town's odd goings-on, most notably the way all the women seem just a bit too perfect. But that's only the tip of the iceberg.

With a story this well-known, you've got to do something clever, and Rudnick fills the script with such brilliant touches that even a graceless director like Oz can't miss (and to be fair, this is Oz's strongest film yet). The cynical humour pokes sharply but subtly at America's insular affluence and stereotypical roles that create a false sense of success without actually achieving it. Under all the goofiness, this is actually a strong statement about aspirational lifestyles, but the witty script is so dry that those in the target area won't get the joke!

Meanwhile, the film's surface is hilariously colourful. Kidman gives it her all with an energetic, entertaining performance that has true layers of complexity underneath the goofiness. Broderick brings just the right puppy-dog nerdiness to the confused-and-potentially-evil Walter. Walken is great fun as Stepford's puppet-master. And Midler and Close (as the town's mother figure) are sheer perfection--outrageously camp with a controlled edge that's often rather terrifying.

If even a moment in this film hadn't sustained the tone, it never would have worked. So all credit to the cast and crew for the fine balancing act they perform right to the multi-twist ending. The result is a fabulously entertaining piece of candy, wrapped in a shiny pink ribbon. With a surprisingly provocative aftertaste.

Rich Cline

TV executive Joanna Eberhard (Kidman) suffers a nervous breakdown after been fired by the network when one of her Reality TV shows goes disastrously wrong. On medical advice her husband Walter (Broderick) moves the family out of New York to the small Connecticut town of Stepford. This idyllic, peaceful community is filled with enormously successful men and their beautiful, perfect wives. As the husbands retire to their Men’s Association, Joanna and fellow Stepford newcomers Bobbie (Midler) and Roger (Bart) join the women at the spa but suspicions soon arise as each of the wives is just far too perfect to be true.

Would you want the woman in your life to be at your beck and call, to pander to your every need and make you feel amazing in the bedroom? Well you need a Stepford Wife.

Based on the best selling novel and a remake of the classic 1975 movie by Bryan Forbes, this version forgoes the horror and fright aspects of the original material on which it is based, choosing a more comedic approach and for the most part it works quite well. The Stepford Wives is a satire that pictures modern, career driven women as heartless, self-serving beasts that need to be sent back to the 50s. This of course, is the wishful thinking of small, domineered men who want to regain control of their households and have found an ingenious way of doing this in Stepford. This is where the film differs from the original, where the wives where replaced with robots, in this very modern version, nano-chips control the behaviour of them turning them into remote controlled servants. Well this is what you are led to believe as during the scene where Walter finds out that the wives have been replaced, the example is most definitely a robot. Quite confusing.

Plot inconsistencies aside, it is the very strong ensemble cast that makes this picture very enjoyable. Nicole Kidman plays the only slightly straight role of the piece and in Joanna Eberhard she portrays unlikeable persona, at first anyway. She is a career-oriented woman who has forsaken her role as a wife and mother for the pursuit of power, fame and respect in an industry of backstabbers. This is a character that you are not supposed to like, increasing your understanding of why Walter would like her replaced. Matthew Broderick plays the down-beaten Walter very well. When he moves to Stepford he suddenly gains the respect and belonging he has always pandered after. This is Broderick back to his best, playing a likeable character that you can easily sympathise with.

Glen Close, Bette Milder, Christopher Walken and Roger Bart support the two leads excellently. Glen Close is at her most kooky as Claire Wellington, the wives’ community leader. This is a woman stuck in the 1950s and the epitome of the Stepford ideal. Christopher Walken’s Mike Wellington is the instigator of that ideal and the driving force behind the Stepford revolution. This is another master class from the excellent character actor. Bette Milder and Roger Bart provide many of the laughs as Bobbie and Roger. Novelist Bobbie is the new, empowered woman who refuses to conform to her husband’s ideals. She writes books about her mother entitled “I Love You but Please Die” and continually rips into Claire and her Stepford ways. Roger is the PC element of the film as the more effeminate side of a gay relationship. He provides all of the fashion and girly quips that have become so stereotypical of a character like this but they are funny.

Remakes are never usually as good as the original and this is again the case here. The darkness and tragedy have gone and been replaced by laughs but the message is still the same. Do you want to be married to someone who does everything you want and do you want someone to love you for what you are, flaws and all? While the ending does feel a little rushed after the big finale, there is still a lot to enjoy here and enough to get you thinking the question, what if you could trade in your partner for a better model.

Star Rating = * * *

Jamie Kelwick

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