The Stepford Wives | Almost Camp, Almost Satire, Almost Funny
It seems that there is some sense to the satirical, almost campy, approach that the Frank Oz and Paul Rudnick have taken with the remake of the 1975 cult classic The Stepford Wives. From the Ira Levin novel released in 1972 to the screen adaptation in 1975 and several TV-movies, the term “Stepford wife” has infiltrated popular culture; yet its moment seems to be over. Truly, in the 1970s, men would have had something more objectionable to say about feminism and being a “career bitch” (which is what Nicole Kidman’s character Joanna Eberhart has always wanted to become since she was a young girl), but today, it would indeed seem the best way to tackle a storyline such as this is with farcical rather than sinister elements.
Kidman stars as Joanna, a network president who gets sacked after her feminist-leaning reality shows reap tragic results. After Joanna suffers a nervous breakdown, her husband Walter (played by the always pleasant-faced Matthew Broderick) transplants the family to Stepford, Connecticut, where there is no crime and “no pushing”. Joanna tries to fit in with the always-genial, eternally dressed-up and coiffed women of Stepford, seeking solace among fellow new residents Bobbie Markowitz (expertly played by the talented Miss M, Bette Midler) and gay “wife” Roger Bannister (Broadway regular Roger Bart). The three seeming misfits get together to speculate on the goings-on in town, including Sarah Sunderson (country singer Faith Hill) having an apparent seizure. Glenn Close and Christopher Walken round out the cast as premier Stepford couple Claire and Mike Wellington.
As time goes by, Walter gets deeper into the Stepford men’s club inner circle, while Joanna tries to assimilate and be chirpy. However, when Roger Bannister (apparently staunchly Democratic), becomes a gay Republican who dresses in Brooks Brothers, and Bobbie Markowitz, the dreadful slob who once wrote a book entitled “I Love You, But Please Die” for her mother, becomes a blonde Betty Crocker fanatic, Joanna confirms that something is amiss. The audience, though, has known that for quite some time.
The talented cast gamely churns out good performances (Kidman and Midler’s comedic turns, Close’s steely effervescence, and Walken’s menacing evenness are the most noteworthy) but it seems there is something that prevents the story from actually taking off, preventing the film from totally engrossing the viewer. This shouldn’t be the case because this is a fresh take on a classic; yet it seems the snappy one-liners, pop culture references and great pacing and comic timing still, somehow, fall flat. Even the twist at the end of the tale doesn’t hook you.
It was a good decision to watch this only when there was nothing else to watch. It has its moments, but you can flip back to those from time to time if ever you’re watching on cable. Mind you, though, Nicole Kidman looks absolutely delightful as a Stepford wife. Delish.
Kidman stars as Joanna, a network president who gets sacked after her feminist-leaning reality shows reap tragic results. After Joanna suffers a nervous breakdown, her husband Walter (played by the always pleasant-faced Matthew Broderick) transplants the family to Stepford, Connecticut, where there is no crime and “no pushing”. Joanna tries to fit in with the always-genial, eternally dressed-up and coiffed women of Stepford, seeking solace among fellow new residents Bobbie Markowitz (expertly played by the talented Miss M, Bette Midler) and gay “wife” Roger Bannister (Broadway regular Roger Bart). The three seeming misfits get together to speculate on the goings-on in town, including Sarah Sunderson (country singer Faith Hill) having an apparent seizure. Glenn Close and Christopher Walken round out the cast as premier Stepford couple Claire and Mike Wellington.
As time goes by, Walter gets deeper into the Stepford men’s club inner circle, while Joanna tries to assimilate and be chirpy. However, when Roger Bannister (apparently staunchly Democratic), becomes a gay Republican who dresses in Brooks Brothers, and Bobbie Markowitz, the dreadful slob who once wrote a book entitled “I Love You, But Please Die” for her mother, becomes a blonde Betty Crocker fanatic, Joanna confirms that something is amiss. The audience, though, has known that for quite some time.
The talented cast gamely churns out good performances (Kidman and Midler’s comedic turns, Close’s steely effervescence, and Walken’s menacing evenness are the most noteworthy) but it seems there is something that prevents the story from actually taking off, preventing the film from totally engrossing the viewer. This shouldn’t be the case because this is a fresh take on a classic; yet it seems the snappy one-liners, pop culture references and great pacing and comic timing still, somehow, fall flat. Even the twist at the end of the tale doesn’t hook you.
It was a good decision to watch this only when there was nothing else to watch. It has its moments, but you can flip back to those from time to time if ever you’re watching on cable. Mind you, though, Nicole Kidman looks absolutely delightful as a Stepford wife. Delish.
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