By Kit Bowen
Story
The tagline reads, "The wives of Stepford have a secret," and boy, do they ever. Of course, Joanna Eberhart (
Nicole Kidman), a former tough-as-nails television network president, doesn't know the secret. Not yet, anyway. She just thinks she's moving to the peaceful upper-class suburbs of Stepford, Connecticut, with her attentive husband, Walter (
Matthew Broderick) and their two adorable children--to try to recover from a nervous breakdown after being summarily dismissed from her high-powered job. What Joanna finds instead is a group of eerie '50s-type perfect housewives, lead by the ultra-coiffed Claire Wellington (
Glenn Close), who tend to their beautiful, spacious homes, excel at crafts and cater to their geeky husbands' every whim. The women's behavior is more than a little odd to Joanna, even if Walter thinks it's all very quaint, as he rushes off to join the other men folk at the Stepford Men's Association, lead by Claire's manly husband Mike (
Christopher Walken). Luckily, Joanne isn't entirely alone in her suspicions, discovering allies in recent transplants Bobbie Markowitz (
Bette Midler), a frumpy best-selling author, and Roger Bannister (
Roger Bart), a gay-and-proud-of-it architect. Together, they try to unravel the mysterious of Stepford, while also managing to learn how to make the perfect Christmas ornament from a pine cone.
Acting
Stepford Wives employs a stellar cast. The over-exposed
Kidman finally gets to loosen up a bit after such downers as
The Hours,
Cold Mountain and
Dogville and has fun with Joanna. Her bitchy TV executive is particularly comical, as it is realistic, especially when she's spouting off ideas on how to turn a tragedy into "real" television. Honestly, the Oscar-winning actress can do just about anything--but it may be time for her to take a vacation. As Joanna's husband,
Broderick is spot-on as the mousy Walter who eventually shows some backbone (of course he does).
Close and
Walken also have their roles down, er, perfectly as the masterminds of their own little version of heaven. But the real standouts are
Midler, as the caustic Bobbie, and Broadway actor
Bart as Roger, who provokes the biggest laughs from the audience with his flare for the flamboyant. Yes, it may be a tad stereotypical, but he sells it,
girlfriend. Even country singer
Faith Hill tries her hand at the whole acting thing, making an appearance as one of the Stepford wives--come on, she certainly
looks the part, doesn't she?
Direction
Trouble brewed on
The Stepford Wives set. Director
Frank Oz (
In & Out) apparently had difficulties with producers over the direction of the film (which veers completely away from the suspenseful original) as well as run-ins with co-stars
Midler and
Walken--and the end product reflects it.
Stepford is muddled and savvy moviegoers will no doubt scrutinize the film's glaring flaws, especially the whole "robot" component (are they actual robots or what?) and the over-the-top, maybe-you'll-guess-it twist at the end. But
Stepford's intentional ribbing of social mores and quest for perfection comes shining through, thanks to
Paul Rudnick's campy script. There are more than a few hysterical scenes, including one where Joanna, Bobbie and Roger sneak into one of the Stepford houses, and after hearing a particularly vigorous lovemaking session between perfect wife #34 and her husband, Roger runs up the stairs because he's "got to get some of that" or the scene where Claire talks about the great things to make at Christmas, while Bobbie throws out her own clever ideas on what to do with pine cones. The important thing is
Stepford Wives doesn't take itself seriously--well, not
really--and neither should anyone else.