My esteemed colleague Valerie recommended I see the original Stepford Wives. Well, Val, you were right! What a delight! And how much better than the silly, superficial new version with Nicole Kidman.
Made back in 1975 (the Middle Ages, to today's youth), this masterpiece starred Catherine Ross as the wife who is anguished seeing her fellow female suburbanites transformed into robot types.
Remember Catherine? She was Mrs. Robinson's daughter in The Graduate. She has a delightfully mysterious face throughout the Stepford crisis. She is at once scared, determined, upbeat, and dour as she and her best friend, played by Paula Prentiss, srtuggle with their new reality.
What really makes this film remarkable, however, are the serious feminist messages that emerge as we watch what should be nothing more than a light, entertaining, pseudo sci-fi film. In her marraige, Joanna (CR) struggles to be present, to have her feelings and opinions heard. Her husband (sadly miscast...if only he had been, say, Richard Chamberlain) refuses to acknowledge her concerns, ideas, and complaints.
As the film moves forward, we are thrown into the emotional angst that pervades most '70's films. How do we find happiness in life? How do we make marriage work? Can we trust our friends? Can the suburban world bring fulfillment? In the wake of the turmoil of the 60's, films in the next decade were so full of searching and longing.
How does Catherine fare in her battle to be unique and not turn into a suburban bot? I will not be a spoiler...but suffice it say that CS grabs a knife and becomes violence in one scene that no viewer will forget!
A+ work. Nice call, Valerie!
So glad you saw this film and appreciated it. Good analysis!
ReplyDeleteIt finds itself on t.v. fairly often and whenever I come across it - stop everything - I have to watch again.
I am drawn to Paula Prentiss's character (I've always been a fan of hers). She is a free-spirit, when such women were just starting to appear in this American culture (and movies). She is a catalyst for Joanna to find herself, maintain some identity and independence in her marriage. When she is replaced by a robot, it's as if Joanna lifeline is cut off.
I find real terror in the concept of a seemingly safe and friendly environment with trustworthy people, that is actually evil (another example: Rosemary's Baby).
This film always leaves me very angry. Certain cultures, religions, neighborhoods, families, and organizations today STILL place outrageous expectations on its females to be almost robotically PERFECT and subordinate in all respects! (I shall refrain from getting more specific.) I was once a member of this club-at-large. The last scene in the grocery store aisle leaves me chilled.
LOVE this gutsy film.
By the way, I'd like to suggest that our beloved readers check out any post after they have seen the film. As discussions go, I'd like us to feel uninhibited about any revelations. Whatdoyathink?
Gutsy is the perfect descriptor for this film, English teacher! Yes, very daring indeed, particularly for the times. So relevant still: How many women feel they must conform to an image, both physical and otherwise? When our heroine becomes a bot, we are indeed chilled! To our readers: Valerie's right...we'll assume you've seen the films we discuss. So Valerie, any other "originals" I should see?
ReplyDeleteCape Fear, The Postman Always Rings Twice, The Bishop's Wife...
ReplyDeleteAnd just for preciseness, the women in SW don't become robots; they are killed and replaced. Eerie how that aspect is dealt with fairly cold and detached from viewers' eyes. Ew.
Nice correction about the bots, Valerie. Yes, you're right.
ReplyDeleteOK, will have to go back and see those other originals. Here are several I'd recommend over their modern, inferior versions:
3:10 to Yuma with Glenn Ford
Day the EArth Stood Still with Michael Rennie
War of the Worlds