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Summary: DVD of The Stepford Wives does not work in U.S. DVD players
Review: I have bought this item (and returned it) from Borders and an online company. Neither DVD will work in my DVD player or any other machine it has been tried in. (Note: my DVD player has never before rejected any DVD.)This is obviously a flawed issue. I believe ALL of the DVDs are unworkable. Has anyone else purchased this item? Why is Amazon selling a product that does not work?
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Summary: 70's Feminism Revisited
Review: "The Stepford Wives" is worth seeing (and for some, owning) and it is good, but I feel somehow it might've been better. The great plus it has going for it is its cast: pretty Katharine Ross; the ebullient and always fun Paula Prentiss; and the Hollywood glamour of Tina Louise (here as red a redhead as you can get), yet still, it's not as superb a sci-fi film as "Invasion of the Body Snatchers," for instance. It isn't completely satisfying, to use a cliche and yet fairly apt film review phrase. One of the things that detracts, for me, is the fact that the men are so uniformly unappealing. Obviously this was partially supposed to be the point, but it doesn't work well for me, because at the very least, Katherine Ross' husband should come across as an appealing character who has somehow gotten swept up into the Men's Association mania and changed. At one point, she even says to him, when he calls the Stepford husbands "a nice group of guys,""Are you serious?...That's not me and it's not you." Isn't it? He comes off as a rather obnoxious, self-centered character from the get-go, wanting to "christen" every room in the house, making a comment to another Stepford husband whose wife brings over a "welcoming" casserole, "She cooks as good as she looks" (wink, wink, nudge, nudge) and basically being domineering in a passive-aggressive way. I couldn't see what attracted her to him, and they seemed to have zero chemistry. The fact that Joanna (Ross) and Bobbie (Prentiss) are commenting about the fact that the babes of Stepford have chosen husbands who are "nothing" is rather an irony, since their own husbands are nothing to write home about. Joanna's husband, moreover, is whiny. Beyond this, there are some anomalies. What's with the older woman who writes about new women coming to Stepford? Is she representative of the active women's movement that once existed? I know this is in keeping with Ira Levin's novel. And what about the children? What fate will they have with robotic mothers? The ending is pretty creepy, granted (in fact, individual scenes are great) but I also feel this film unintentionally --at least in retrospect -- sheds another light on feminism, exposing some fears that weren't entirely justifiable. Being a strong feminist myself, I don't want to suggest in any way that feminism wasn't necessary and vital or that the need for it has passed. Heaven knows that women are still back in the Stone Ages in many countries without many rights to speak of. But the hysteria here of suggesting that men would literally turn their wives into robots (even if it is a metaphor for the subservient role that already existed -- the "decorative but mindless" ideal the media has long put out)-- well, it didn't happen, did it? The women's movement did happen and now women are in the boardrooms and fighting to have the luxury of being stay-at-home moms. You can't really have it all, whether you are male or female without some compromise. But, in any case, nothing on this scale in essence happened in our country or society. And if men were looking for ideals, would they choose those peasant dresses and floppy hats? I guess that was 70's chic. It's message isn't wholly powerful or convincing, maybe that's the problem. What's with the Disney artist? Paranoia about corporations? Was Disney that huge of a corporation in the 70's the way it is now? I thought a Disney artist would be interesting. Oh -- and the Tina Louise character -- irony of all ironies -- has a maid and makes the disparaging comment about her that being from whatever country she is from, makes her good at "serving." Joanna and Bobbie later are shocked and disturbed that Tina Louise has fired her housekeeper so she can do her work herself. I was uneasy that she had the housekeeper to start with! She was as oppressive and condescending in speaking about the woman as the husbands were about their wives. But in spite of what I consider to be a sense of lacking in this film, it's still a good one. Seeing the women behave as robots is the thriller part and it is very effective. The companionship of Joanna and Bobbie is appealing, and the other "wives" are quite good, especially when they sound as if they are doing advertisements for cleansing products. It has a good musical score, highlighting all that is twisted and unsettling. And some of the dialogue is a hoot. All in all, it's worthwhile and fun to watch -- just not as great as what might have been.
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Summary: A great example of "What If..."
Review: What if a woman moved into the perfect town just to discover a secret plan to replace the women for perfect-housewives-automatas?... What will she do? How will she react? What if she is next? The answer is "The Stepford Wives". The basic idea is not new. But the fact is that this film works very well. The story is carefully constructed around one woman's point of view, where she sees all the little things that lead her to the frightening thought that the idea of "replacement" is actually true. Nearly everything in this film is great: the cast, the script, the mood... everything is very effective. This film also raises many sexual issues (remember this is a film from the 70's) and obviously, although most of the issues are pretty dated by now, the film does show how those issues where handled back then. I think it remains a fine portrait of that decade. I am sure by now everybody knows how the story ends... but remember this the kind of film where the process that leads the characters to the end is much more interesting then the ending itself (which you will figure out by yourself half way through). A great film that deserves to be discovered...
This DVD edition comes with a nice pack of extras: trailer, radio spots and some nice interviews with the cast and director (made for this edition).
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Summary: All one can do is run, not walk away when this film comes on
Review: If you can't stand a movie that is pointless, then look for a different movie....it goes nowhere except where you know it is going to go, 5 minutes in...I regret every moment I spent watching it, and I pray that no one goes to see the remake
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Summary: Katherine ross is great!
Review: Katherine Ross, husband, and kids move to a little town where everything seems to be perefect. except the wives are just a little too bit perfect. When ross investigates with friend paula prentis.. well all i can say is the ending is a stunner. i really enjoyed this movie. katherine ross is a great actress and paula prentiss did a good job too as her wiseass friend. worth a second viewing.
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Summary: A vulnerable experience!
Review: For a vulnerable experience, sit alone in the dark and watch this movie....I will not recommend men to show this one to their fiancees. Get absorbed in the semi-slow pace of this story...it gets pricked with beautiful, horrible ending clues. THANKFULLY, the ending is the a litle bit campy....Joanna the photographer and her new pal Bobby are "modern" mothers. The watch their fellow housewives run around living absurd, regressive lifestyles as "fifties" style Betty-Crocker-Donna-Reed-whatevers. Both their families transplanted to the once rural Fairfield County, Connecticut from NYC; soon the two find themselves ready to move back, if only they could convince their husbands to drop out of their mens club... This movie isn't as domestic as it seems. It's got that satisfying surprise ending. It's had me picturing all these alternative endings, wondering how else it could have been for our heroines! I wish I knew what happened to Katherine Ross and Paula Prentiss. Maybe this wasn't all fiction!....Rumor has it that this movie is being remade soon. Nicole Kidman is the Joanna.
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Summary: The Stepford Feminists
Review: I must admit to never having read the book, but from its reviews, the movie manages to follow it closely enough. The plot would work much better if more men were actually like the men of Stepford. Some reviewers obviously think that MOST men are like the men of Stepford, or at least most men were until this movie came out. This says more about some people's fear and loathing of healthy masculinity than it does about anything else. Seriously, ladies, stop judging all men by "The Man Show," unless you want us to judge all women by "Oprah." That having been said, this film is an interesting caricature of a certain SMALL segment of the male population. Or perhaps it is an unintentional parody of '70s feminist paranoia. If only the feminazis who blast women who don't follow in their own jack-booted footsteps were as tolerant of other women's choices as they demand others to be accepting and approving of there own.
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Summary: Great Movie
Review: Katherine Ross is just beautiful in this movie. Paula Prentiss adds some "comic relief" to this horror movie and she is just great at it. If you like Katherine Ross as much as I do then you should also watch The Legacy with her in it. The ending to the Stepford Wives is not a very happy one but since when do we always have "happy" endings?
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Summary: You might not like it, but it will make you think ...
Review: This is a film I believe everyone should see. Not because it is a "classic" (it isn't quite THAT good), but rather because it forces one to examine one's views on women's roles in society. There are plenty of reviews here that give a basic plot synopsis so I'll skip that. What I'll convey here is the dichotomy of needs and desires expressed in this film that make it so compeling. The crux of this film is the Stepford men's need to create a world in which they feel powerful, in control and in charge. The men of Stepford, headed by "Diz", have embarked upon a crusade to turn every woman in Stepford into the perfect wife. Instead of creating and developing a powerful identity on an internal level, the men of Stepford seek to change their environment, and everyone in it, so that it reflects what these men feel they want and need. Fawning, compliant wives ... beautiful homes ... peaceful, orderly families ... strong, dominant men. This need to control the surrounding world, rather than accepting the world for what it is and then choosing to control oneself, has been the hallmark of kings, emperors, and the like for centuries. Now we see in it suburbia, being played out in the drama of the women's lib movement. I think every masculine man who views this film, whether he cares to admit it or not, will find the ladies of Stepford at least somewhat attractive. As lovely as Southern Belles and as capable in the kitchen as Betty Crocker, what man could resist such a girl? Someone to dedicate her life to him, showing her love for him by meeting his every need ... submitting herself to him completely. It would be the fulfillment of every inner masculine need for power and dominance to have such a woman. Enter into this scenario a woman named Joanna, who has a strong sense of her own identity and will. She is the antithesis of the Stepford men. While she does try to stir up some dissent amongst the Stepford ladies, she is not trying to do so for the purposes of self-gratification. More accurately, her efforts are directed towards motivating the Stepford women to embrace at least some degree of individuality and political relevancy. The Grand Purpose of this crusade? To foster an enviroment in which Joanna can be herself, follow at least a few of her own interests, and not be chastised for it. And so the lines are drawn. The Stepford men wish to create a world where their need for social dominance can be met and fulfilled. Joanna seeks a world in which she can be herself. The Stepford men are creating is a place where a man's inner need to attain sexual, social and political power is the accepted norm, reflected in the eyes of an adoring wife. Joanna wants to live in such as way that she can give as much to her husband and children as she herself sees fit, without conforming to the social and marital decrees of some powerful "other", even if that "other" is her own husband. The social issues touched upon by this conflict are legion. What is a woman's role in society? Is it just for men to dictate this role? What are a woman's obligations to her husband, children, and community? Are these obligations defined by the woman herself, or by society? What about her inner self, her dreams and desires? Do all women crave independence? Are all women horrified by this version of domestic "bliss"? Do all women secretly long to be CEO's and Presidents? Or are there women that seek, of their own free will, to give themselves over to the needs of their men? Are the attitudes of the Stepford women accurate reflections of the views of conservative ladies? Do these women attain their own feminine fulfillment, giving themselves to the men they love, and watching as these men attain heights of power, confidence and virility they could not have attained on their own? For one must observe that the men of Stepford attain power through changing their wives into vessels willing to serve them. This still happens today. The most noteworthy accomplishment of the women's movement is not that this lifestyle has been stamped out. It is still very much alive, albeit hidden and removed from society's view. Rather, the women's movement established that a woman does not have to subsume herself to this "traditional" lifestyle if she does not wish to. Today, a woman has a valid choice. In Stepford, the men are seeking to remove this choice. Katherine Ross turns in an impressive performance as a wife and mother who feels a deep, profound need to express her own individuality. Ms. Ross's performance is right on target, conveying a clear sense of a strong-willed individual being consumed by the machinations and plottings of the men of Stepford. On a final note, kudos go to the "extras" in this film who portray the ladies of stepford. Their attitude isn't just total openness to, dependency upon, and submission to their men. It is all this, and also a sense that these submissive women love their lifestyle, their husband, and their town. It is this facet of life in Stepford, this embracing by the women of Stepford of absolute selflessness and lack of individual volition, that causes Joanna to begin to question her sanity. "All these other women are happy here ... is there something wrong with me? Maybe I'm the one with the problem" thinks Joanna as the profound nature of life in Stepford reveals itself to her. I strongly recommend this film, if for no other reason than it will certainly cause you to examine not only your attitudes towards women's changing roles in society, but also your motivations for these attitutes. I personally believe that women should be able to choose a lifestyle, be it traditional homemaker or career woman, or some combo of the two. That's my humble opinion ... I'm sure the debate will rage on for years to come. P.S. For further interesting reading, try "Fascinating Womanhood" or "The Fascinating Girl" by Helen Andelin. Her ideas about traditional marriage make for compeling reading.
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Summary: She Looks As Good As She Cooks
Review: She is the ideal woman: a meticulous housekeeper, flawless cook, thrifty shopper, adoring mother, perfect wife. Even today, more than thirty years after Ira Levin's bestseller startled the reading public, we are likely to refer to such a woman as "a Stepford wife"--a creature who is just too good to be true. The 1974 film version follows the Levin novel quite closely. Joanna Eberhart is a beautiful young woman of the era in which the women's moment had come of age: intelligent, forthright, and meeting her husband on equal terms. Then she, her husband, and their children move from New York to the small town of Stepford, where she is dismayed to find that most of the neighboring women seem engaged in a competition to have the neatest house, the best-groomed children, the most satisfied husband. Joanna is relieved to find women like herself in newcomers Bobbie and Charmaine, but even so, it seems... odd. So odd that she begins to question her sanity. The film works on several levels, not the least of which is the macabre sense of humor with which director Byran Forbes endows the film: it is often very funny in a disquieting sort of way, as when Joanna and Bobbie's efforts to start a women's group results in a gathering of perfectly manicured women exchanging recipes and comparing floor polishes, or when Joanna and Bobbie accidentally overhear a Stepford couple making love. But for all the wittiness involved, THE STEPFORD WIVES is rooted in the women's movement of the 1970s, an era in which "a woman's place" was hotly debated on a national level. Just what is a woman's place? And to what lengths might men go to keep their women in traditional roles? Unlike many similar films, THE STEPFORD WIVES has tremendous restraint--and moreover a truly exceptional cast. Katherine Ross' talents were never before or after so well used, and Paula Prentiss gives perhaps her single most memorable performance here as Joanna's friend Bobbie. The supporting cast is equally fine, most particularly so with Patrick O'Neal as the unnerving "Diz" and a nice turn by Tina Louise as Charmaine. Ultimately, THE STEPFORD WIVES is something of a "one trick pony:" it works best on a first viewing, when you don't know what's coming, and on subsequent viewings the film tends to read as unnecessarily slow. Even so, it is an interesting little cultural artifact, an "almost classic" that is sure to give you pause the next time your better half announces he is joining a men's club. The DVD package is quite nice as well, with interviews with director Forbes and many members of the cast. Recommended. --GFT (Amazon.com Reviewer)--
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