Tuesday, 12 January 2010

The Stepford Wives 'Bryan Forbes' 1975



















Now after watching the newer version, I was expecting somthing a little more watered down, as most of the remakes of classic films, seem to explore a bit too much into the original elements, or somtimes not enough, rarely capturing the same essecence to it's predecessor, but to my surprise, this version, the original, seemed to be alot more richer, containing more artistic shots, such opening scene, which freatured narrow passages for an empty house, it's nautral light casting over the protanganists face......then quickly hastened to the journey between two worlds almost, their old home located in a downtonw New York, to the quaint little surban Stepford...herein again there is a lot of angular usage with the shots, creating a sense of spacial strangness, and perhaps unease, that is often found when moving into a new home, with new surroundings, thus the fammilar being altered.....

The colour pallete seems to revolve around a very cool, pale, dilute colour scheme, which differs from most interpretation of suburban towns, with high contrasting colours that seem to create this false sense of happiness, that is overexagerated, for instance, the American Sitcom 'Desperate Housewives' with it's vibrant use of colours, conveying it's highly overdramatised, and intense plots, which are left leaving the show on cliffhangers, where as 'Stepford Wives' seems alot more cool, and relaxed, which I found easy to watch and quite enjoyable, setting the tone for easing in shocking elements.....that contain the 'Uncanny Element'
Stepford Wives














 Desperate Housewives













The Narrative itself challanges alot of femminist issues, that seem to follow simmliar traits found within the american household in the 1950's and beforehand, and especially has this Norman Rockwell sense, in particular the 1950's perfect housewife, who loves to cook and clean, and awaits her mans every need and desire to fullfill, and this film portrays that to a tee....with scenes such as the arrvival at Stepford, when Joanna is greeted ber her neighbour, there seemed to a ethereal sense about her, almost a synthentic glow, which is futher enhanced by her voice and actions, as well as the supermarket, with the automaton women following their daily routines and 'jobs', that almost look like a scene out of a t.v ad, taking a huge jibe at consumersim, and how society conforms to others will, for instance in the Gentlemen's Club, when they discuss the blueprints to Joanna's future in stepford....which almost make her appear lifeless....












Amoung these, there are some disturbing scenes in the film such as when Bobbie, Joanna's fiesty femminst friend, conforms to the will of the men, loosing all of her personality and passion, to which Joanna's confronts, and witnesses a Malfunctioning version of her former friend, who appears suffered from some sort of meltdown, stuck in some repetition of order. Alongside this, the ending itself is so sinister, I didn't actually see it coming, with the outburst of domestics, paranoia and almost horror, it truly was one of the most enticing endings I've seen in a while, purely because it challanges the cliche hollywood endings seen in everday films....and clearly is a much more darker, richer piece in comparison to the remake, and portrays a different side of suburbia whilst bringing up many issues that surrounded society at the time, challanging the views in communities and society.

1 comment:

  1. Very nice response, Bob - and the Desperate Housewives observation is spot-on!

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