Taking the time to watch The Stepford Wives (1975) tells me fire sure that it’s far superior to the 2004 comedy remake really pales in comparison, the feminist bite that I found here is watered down substantially. The original even just on the surface is darker and sinister. I’m not going to compare the too, I just don’t see the need really when the original’s packed full of ideas, which I’m going to explore. I will however start by comparing this sci-fi paranoia with Westworld (1973), the amusement park populated with android hosts who are at the beck and call of the human guests whim, be them violent, sexual or anything in between. The idea of the android being used for human pleasure was only scratching the surface of how far it could be explored. Of course in the theme park a malfunction saw the robots take over and that was that until the poorly made sequels (that no-ones ever seen). In the theme park we acknowledge early on that these are not humans, in on the illusion, waiting for it to go horribly wrong. For new visitor Peter (Richard Benjamin) he is all too aware of the possible consequences of his actions, using and abusing these hosts who at least look human. He wont kill any of them, even when the safety features are in place. The illusion is all too real for him.
It’s the illusion that photographer, wife and mother Joanna (Katharine Ross) who moves with her lawyer husband from New York for a new life in the suburban town of Stepford. On the surface you have the idyllic American dream, the big house, the kids and if your lucky the perfect wife. Well most of the other residents do. All with perfect bodies and spotless houses, funny how they all live within a few miles of each other. This gated community living the dream. Joanna however starts to see cracks in the dream, with all the spare time on her hands she finds herself starting to go mad. For me I think part of that illusion and mystery is lost due to the knowledge of the remake which gives away the plot. It was about rediscovering how Joanna came to that which made the revisit worthwhile.
Leading up to that discovery she befriends recently moved in Bobbie Markowe (Paula Prentiss) who shares the same concerns start to look at little closer at the wives of Stepford who would rather live the life of the ideal wife, keeping the house spotless, makes cakes and talk as if they were selling a household product. They are living adverts for the ideal married life… for the male anyway. Perfect in every-way for the husband to enjoy, having less to worry about at home, coming back from work to a clean house and a woman who worships him. Honestly every man does want that but ultimately that’s just a childhood fantasy. The generation depicted in the film, grew up in the 1940/50’s with stay at home mothers who only ventured out to get groceries and pick up the children. An image and ideal woman who according to Freud all men look for, their mothers, someone to compare to what is basically an impossible goal to reach. These boys who become men desire that in the women they meet. Who in-turn want the father in their husband – that’s if we are looking at a heterosexual relationship. In Stepford that ideal becomes a reality for the men who are rarely at home, either at work or the men’s club.
If in Westworld the desires of the guests; male or female are met, then in Stepford only the desires of the men are being catered for. Its a male dominated environment, that reflects reality of the time. The Women’s liberation/feminism was in full swing. Women fighting for an equal voice, to be taken seriously in a male dominated society. Looking back, how much has really changed since that time. I don’t think I am really qualified to give a definitive answer. I can say in short that there is still a way to go. The workplace has made progress, the depiction of women in film and TV has improved if only slightly. Print and digital media is also slowly catching up. Its about keeping the ideas alive and fighting for what is basically equal rights, respect and representation in society as new generations grow up.
Stepford Wives is full of fear, the fear of unknown if women were allowed to be free thinking, independent people, free to act, work and dress as they please without fear of being objectified, ignore and treated less than their male counterparts in life. The ideal, yet softened feminist for the screen. Both Bobbie and Joanna represent women who can think for themselves, have a laugh and see the town for what it is. They become fixated with the wives who they can’t really hold an intelligent conversation with. We see one wife Carol (Nanette Newman) whose clearly a recovering alcoholic malfunction, or so we are lead to believe, her reaction is more robotic, there’s nothing human about her beyond her form. Her presence is rather sinister, perfect hair and body, she has achieved the ideal that adverts and the media promote, and so have all the other wives. Joanna and Bobbie then encounter Charmaine (Tina Louise) who comes with her own marital problems. Then a few weeks later a trip away and she’s transformed into a new woman, blossoming almost, yet under the facade is another shallow obedient wife.
I’m reminded of The Simpsons episode Lisa Vs. Malibu Stacy the fictional Barbie doll complete with pull-string that allows her to talk. Playing archaic female stereotypes that are being fed to young impressionable girls. Lisa takes it upon herself to design and sell her own doll with her own independent thinking and sayings. The little girl playing the giant toy company at their own game. Only to come back with the same doll, this time wearing a hat. Showing how easy it is to sell to children and how little they really care about the impact they have in their development. The men of Stepford are the same really, taking the women they met, and improving in their desire image, having overall control over their wive. The men are once again in charge. Leaving all the women subservient, quiet and of little hassle to them.
It’s in this fictional American town there’s the illusion of hope for the men, restoring order to things so they can go about their lives not needing to progress socially, science has caught up enough to allow them to turn the clock back on the women who’ve been fighting them since the 1960’s. Feminism has no place here, its fought and won with male ingenuity and science – and because they can. It’s that easy in science fiction to solve a social problem with technology, now just wait until it malfunctions.
On reflections Stepford Wives is a very dark film, drip feeding to you the suggestion that something is wrong, socially critiquing a small town in suburban New York state. We see independent women being stripped of all they have fought for, rewinding the clock to the 1950’s. There’s no hope for any of them here in the cinematic world, filmed like a cheap TV movie the ideas are even sharper because you don’t expect to find them. Even passing the Bechdel test too with flying colours which is even rarer for it’s time. A film that looks dated on the surface with razor sharp contemporary ideas, now when is it being rereleased?
Admittedly this review of Westworld (1973) is timed before the UK premiere of the new spin-off TV series completed with 21st century update, I must say its one series I will be watching for sure. Now that I have seen the original film I can come into the series with a stronger context and points of reference. Much the same to Fargo (1996) and the respective series, having that richer understanding of the directors and film itself you have potentially a richer experience. Anyway enough of the hype building for the TV series, onto the original Sci-fi horror which had until recently become an obscure cult film that I had only heard snippets about. I have in-fact got a clip of the film in Cue the Lights (2014) without knowing what the film was about short of being robotic cowboys.
That was until more recently, checking out the trailer that gives more away yet not as big a plot-spoiler if it were released today. Westworld is one third of a theme-park for the rich to spend a week of escapism. Think Disney World but far more immersive, you’d be getting much closer with Itchy and Scratchy Land, visited by The Simpsons with similar consequences. So already I am finding that America wanted to escape from its own realities to it’s past, the mythical frontier space, populated by androids, operated by the Delos Amusement park. To get location that can only be reached by hovercraft, complete with advertisement to further entice the new batch of tourist who are ready and waiting for adult escapism. The focus on the Westworld, completely disregarding Roman world and Medieval world shows how much attentions put into revitalising the genre that is seriously lagging. Returning to an ideal history of that as portrayed on-screen is something I’m sure I might even consider.
As two men, John Blane (James Brolin) on his second visit and eager friend Peter Martin (Richard Benjamin) who wants to know and try out everything at Westworld. He’s like a big kid going to Disney world wanting to try out all the rides. Wanting to really play the cowboy even down to the details on his gun belt, it’s all about the authenticity of the experience for him. For John he’s more than happy to show him around. On the surface we have fun place for big kids to go and have some unadulterated fun. Even a few killings without the consequences of going to jail. When they meet the Yul Brynner‘s Gunslinger they discover how much fun then realy=ly can have. Guns that will only shoot at androids’ its like being on the holodeck with the safety mechanisms still in places.
I’m reminded of The Stepford Wives (1975) which takes the android to another level of replacing a mans wife with his ideal, pacified wife who will obey his every command. That was Women’s liberation movement in Hollywood, if you want the ideal technology can replace your wife with a better body and one that doesn’t talk back or has her own mind. I think a few of them are in Westworld when they two friends visit a hotel, however for Peter he takes a while to warm to the idea that he can have sex with a robot having no consequences, no one gets hurt at all, its all harmless escapism for the male visitor. Of course women can enjoy the same pleasures with male counterparts.
It’s a hedonistic theme park that knows no boundaries until the unknown starts to have an effect. There have already been a series of malfunctions at the park, which are overlooked by some of the scientist running it. More concern for profit than for guests safety as a series of faults become more alarming. Beginning as just a few malfunctioning robots, it’s seen across the three worlds before spreading like a virus. Something that could easily have been prevented, ignored in the name of profit. Of course we all know that it wont stop there.
With the reappearance of the gunslinger fresh from being patched up (and some clever upgrades) he is ready for a rematch with more deadly results. The safety’s are off, throwing the visitors back into reality which had escape hits them and hard. As if they are living in a film and they are allowed to be killed off. Brynner has only a few lines in this film, which makes his presence all the more felt. An aging gunslinger who can still stand his ground is not about to be messed around (for the last time). His is danger in android, he can’t be stopped, a super gunslinger complete with a sensory upgrade so he can’t miss his target. Its becomes a game of cat and mouse as technology has broken free and malfunctioned, man left powerless to their own creations. Brynner is definitely silent and deadly making for a hard nose bad guy who is the ultimate, no safety over-rides can stop him.
From Michael Crichton who I’m know mainly from Jurassic Park (1993) this plays on the same theme of complacency of technology before humanity losing control. Our reliance on it for our own amusement must be monitored. We are slowly getting to the point that Crichton has depicted, yet these are still pleasures for the rich, not the general public. In Westworld the sense of wonder is soon replaced with pure dread – 70’s style which HBO looks to have successfully updated, looking on sentience of the androids, its no longer about human pleasure. I’m looking forward to the blend of modern Western and Science fiction, how the film has been since updated and ultimately expanded.