The Stepford Wives (1975)

Director:

Bryan Forbes

Writers:

Ira Levin (novel)
William Goldman (screenplay)

Release Date:

12 February 1975 (USA)

Genre:

Horror | Mystery | Sci-Fi | Thriller

Tagline:

Something strange is happening in the town of Stepford.

Plot:

Joanna Eberhart has come to the quaint little town of Stepford, Connecticut with her family, but soon discovers there lies a sinister truth in the all too perfect behavior of the female residents.

Plot Keywords:

Strangulation | Woman | Conspiracy | Fantastic | Community

Awards:

1 win & 1 nomination

Cast

Katharine Ross	...	Joanna Eberhart
Paula Prentiss	...	Bobbie Markowe
Peter Masterson	...	Walter Eberhart
Nanette Newman	...	Carol Van Sant
Tina Louise	...	Charmaine Wimpiris
Carol Eve Rossen	...	Dr. Fancher (as Carol Rossen)
William Prince	...	Ike Mazzard
Carole Mallory	...	Kit Sunderson
Toni Reid	...	Marie Axhelm
Judith Baldwin	...	Patricia Cornell
Barbara Rucker	...	Mary Ann Stravros
George Coe	...	Claude Axhelm
Franklin Cover	...	Ed Wimpiris
Robert Fields	...	Raymond Chandler
Michael Higgins	...	Mr. Cornell

Runtime:

115 min | UK:110 min (2001 DVD release) | UK:100 min (2004 DVD release)

Country:

USA

Language:

English

Color:

Color (TVC)

Aspect Ratio:

1.85 : 1

Sound Mix:

Mono

Certification:

Canada:PG (Ontario) | Iceland:16 | Australia:M | Norway:15 | Sweden:15 | UK:15 | USA:PG | Singapore:PG

Filming Locations:

Darien, Connecticut, USA

Company:

Fadsin Cinema Associates

Trivia:

According to screenwriter William Goldman in "Adventures in Screen Writing" (Ch 6), this was the only project he has been involved with that he knew was doomed even before production began. The original concept was that if men were going to murder their wives and replace them with robots, the replacements had better "be in the form of a Playboy Bunny". The concept was tossed when director Bryan Forbes cast his wife Nanette Newman in the film, as per contract. Newman was "an English actress in her mid-40s. An attractive brunette and very talented, but a sex bomb she wasn't". As the result of casting Newman, Forbes and Goldman had an ongoing feud and out went "the parade of Bunnies walking through the A&P in shorts on their perfect tanned legs" and in came the summertime wear of "long dresses to the floor and big-brimmed hats".

Goofs:

Continuity: As the Eberharts enter Stepford for the first time riding in their station wagon, Joanna's head scarf disappears and reappears several times as the scenes change.

Quotes:

Joanna Eberhart: When you come back, there will be a woman with my name and my face, she'll cook and clean like crazy, but she won't take pictures and SHE WON'T BE ME!

Movie Connections:

Featured in The Stepford Life (2001) (V)

The Stepford Wives

It seems "The Stepford Wives" is enjoying a revival. However, it has been a cult movie since its release. As Gregory J. Paris writes, the act of losing one's personality while adjusting to conformity is an important issue in this film. In addition, it deals with man's obsession with "creating", until the day he realizes that the act of procreating is perhaps humanity's greatest gift for creation. It also reminds us of the cult to the mother figure, of the dangers of modern technocracies, of phallocracy… All these concepts are expressed in a peculiar form in "The Stepford Wives", a movie that deserves to be included among the best of Hollywood's second golden era, the 1970's. Director Bryan Forbes, producer Edgar J. Scherick, and, among the performers, actress Paula Prentiss, recognized comedy as an intelligent genre to make a social comment about society, with Stepford as a metaphor. With moving dolls bestowed with graceful movements, dressed in long dresses, wearing hats and carrying parasols, the tone of the sophisticated American comedy seems appropriate to tell this horror story. The connection with dolls is established since the first sequence, when --following husband Walter's unilateral decision-- the family is moving to Stepford, and the kids call mother Joanna's attention to someone carrying a mannequin across a street in New York City: this aspect is used again, most notably when Joanna hosts the Stepford husbands, dressed in a flesh-colored suit. In Stepford, a liberal suburb, with good schools, low taxes, pure air, and business dedicated to electronics, you can sleep with your doors open. Wives are all dressed up, they have no interest in women's rights, and except for Bobbie Markowe and Charmaine, the rest –-when not cooking or ironing-- complain of not being able to bake every day, or would promote for free a brand of starch spray, just because it is such a good product. The funny thing is that the husbands are as boring and robot-like as their wives. They're all successful professionals, who obediently have joined the men's association, which turns into Joanna's headache and builds the tension of the film. There is little suspense in "The Stepford Wives", as we know it in other motion pictures: since the beginning we know that something is wrong, but the filmmakers make us watch the anomalous situation, with Michael Small providing music that is far from horror or suspense scores. What Forbes and company do is to tease us, because we know that Joanna will become Playmate of the Year (check the poster!), following the drawings of an ex illustrator from Playboy magazine, and the technical specifications of a former Disney executive. When she understands why Carol acts like a zombie, why Charmaine hangs her tennis outfit, and why Bobbie turns into a 'chic' housekeeper, Joanna is confronted with her own replica. Why? Because the males can. As simple as that: "Me Tarzan, you second person, you stick to the loser position in a game that I always win". "The Stepford Wives" reminds me of another movie, L.G. Berlanga's "Tamaño natural" (Life-Size), in which Michel Piccoli buys himself a plastic doll to replace his wife. Berlanga and his writers Rafael Azcona and Jean-Claude Carrière emphasized psychological aspects. On "Stepford", while many of its comments add spice to the story (someone affirms that blackmail is what makes America great, another male has been sent to Panama maybe to arrange things for a new revolution or a new invasion), they also point to social and political reasons for this state of things, of this dehumanized community that money and know-how can buy. The technological paranoia enters the main bedroom. The male, confronted with the agony of some of his gender's privileges, his false attributes and wrong values, hits against the female. This may seem pessimistic, but it is also very realistic. The points "The Stepford Wives" made when released, created a controversy in 1975. Since then science has advanced. Maybe now they can make better Stepford wives, that cannot be altered by liquor or a stab, but many things related to the human heart remain the same. The problem is still there, because our egomaniac approach to our fellow human beings of any gender has remained basically the same, making the film actual still today.