Analysis of The Stepford Wives
Mildly diverting is about the best that can be said for The Stepford Wives, a remake so pointless it could be about as entertaining as daytime tv.. Adapted from Ira Levin’s chilling novel as a comedy, as opposed to the nifty 70’s thriller which made the title a household phrase, the makers have missed out one crucial ingredient: Laughs.
Nicole Kidman (Moulin rouge, practical magic) plays Joanna, a burnt-out TV executive who gets fired from her job and is driven to the 50’s suburb of stepford, where rich, style-free, god awful men live with impossibly beautiful and servile women.
As we arrive we already know that something is suspect and it’s not just the script…
The original film, though far from flawless itself, stirred in the extra ingredient of sexual politics, playing on men’s fear of powerful women abandoning the home for the workplace. In the 21st century Stepford, Kidman is a high flier whose career crash leads her to question “maybe I’ve become the wrong kind of woman” while her hapless husband (Matthew Broderick) moans “your whole attitude makes people want to kill you”. It’s an interesting idea, that women’s liberation has led to a different kind of servitude- to the boardroom not the bedroom. But it was never properly explored.
To be honest, given real-life inequalities (and I know were talking movies here) in pay and conditions and the lack of women in higher management it’s stupid to suggest the struggle for women’s rights has been won.
But it just isn’t very entertaining, and social issues aside, this film has about as much consistency as a pancake stuck to the ceiling, for a while there it holds on to something but in the end it falls to the floor in pieces.
The director Frank Oz assumes, probably quite rightly, that the audience knows why the sisters of Stepford so slavishly serve their men, but the lack of surprise or suspense cruelly exposes a similar lack of decent jokes, some of which are chucked in at the wrong moments, which could have otherwise saved a scene or two.
The first instance of ambiguity between comedy/drama begins directly at the beginning credits of the film, with the brilliant shot of a uniform waltzing party, in carousel motion, or a perfect circle. From my perspective, I was unable to recognize w...
Gender roles are a common if outdated, categorization of the ‘right’ ideas of what men and women are to do and be. Often unchanged throughout the decades and appearing to just develop into more complex entities as the year’s pass. These roles encompass ideas of day-to-day life, personal interactions, and often job prospects as well. Although vilified and greatly disliked by many, to the point people go against them, these roles are often portrayed in films, both old and new. The film we have just watched, His Girl Friday, has some instances of these roles and showcases the main character, Hildy, breaking a few of these gender roles.
This essay will examine my thoughts and those of David Sterrit on the critically acclaimed television show The Honeymooners. First, I will talk about the Honeymooners and it’s setting in postwar America. Secondly, the social and cultural issues the series portrayed. Next, would be the psychological perspective and the aesthetics of the show. Finally, the essay would conclude with my thoughts on how the Honeymooners were impacted by these aspects, but also how the show managed to leave a legacy in television today.
Discriminating gender roles throughout the movie leaves one to believe if they are supposed to act a certain way. This film gives women and men roles that don’t exist anymore, during the 60s women were known to care for the family and take care of the house, basically working at home. However, a male was supposed to fight for his family, doing all the hard work so his wife didn’t have too. In today’s world, everyone does what makes them happy. You can’t tell a woman to stay at home, that makes them feel useless. Furthermore, males still play the roles of hard workers, they are powerful compared to a woman. However, in today’s world a male knows it isn’t right to boss a woman around, where in the 60s, it happened, today women have rights to do what they want not what they are
DeMille's classic has become a much loved treasure of early American cinema because of its treatment of the daring subject matter. Rather than being condemnatory towards the `new woman', the film exposes the possible dangers that could befall such a character. Janet Staiger sums up the film accurately when she considers that,
There were many women who fought for female equality, and many who didn’t care, but eventually the feminists won the vote. Women today are still fighting for equality in the home, in the workplace, and in society as a whole, which seems like it may take centuries of more slow progress to achieve.
The actors, if they are even worthy of that title, are so bad that the great actors and actresses of the past are left rolling in their graves. The range of personality types include: a midget, conjoined twins, bouncing bikini babes, three no-life college life guys, a playboy bunny and Gary Coleman. Need I say more? The acting ability resembles the talent I recently saw in the third grade production of "The Little Red Hen." The appearance of the over all cast was not much better. Although, with a screenplay like this one has, I can see how many professionals wouldn't waste their time.
Susan Gable’s Trifles is focused on discovering the killer of a local farmer in the twentieth century. In this play the amount of irony is abundant and the irony always relates to solving the murder. The two types of irony that are most easily discerned in Trifles are verbal and situational irony. Irony is when an author uses words or a situation to convey the opposite of what they truly mean. Verbal irony is when a character says one thing but they mean the other. This can be seen in the way the men dismiss the women. Situational irony is when the setting is the opposite of what one would think it would be for what the play is. This is seen through the setting being in a kitchen and various other aspects of the
women are now able to vote, receive a standard of fairness in the workplace, hold
Conflict with reality and appearance brings to surface the elements of the traditional commedia dell’arte in the form of mistaken identity, which enriches the farcical plot-lines that occur in the play. The very embodiment of mistaken identity establishes that what may be seem real could be quite the opposite, however the characters in the play are unable to distinguish this as their vision becomes distorted by their fall into the deception of appearance. It is this very comedic device that enables the conflict between Roscoe (Rachel) and Alan, or Charlie and Alan’s father to occur which is a significant part of the comedic nature of the play as the unproportional situation is what sparks laughter from the audience, and so it is the presence of mistaken identity alone that conveys the play into a light-hearted comedy. Furthermore, Peter O'Neill quotes that ‘using humour can provide a degree of safety for expressing difficult ideas or opinions which could be particularly effective…’. In the circumstances of the quotation Richard Bean effectively c...
The power of women is different than that of men. Women display a subtle and indirect kind of power, but can be resilient enough to impact the outside world. In Trifles, Susan Glaspell delivers the idea that gender and authority are chauvinistic issues that confirm male characters as the power holders, while the female characters are less significant and often weak. This insignificance and weakness indicated in the play by the fact that the women had the evidence to solve a murder, but the men just ignored the women as if they had no value to the case at all. This weakness and inability of the female to contest the man’s view are apparent. According to Ben-Zvi, “Women who kill evoke fear because they challenge societal constructs of femininity-passivity, restraint, and nurture; thus the rush to isolate and label the female offender, to cauterize the act” (141). This play presents women against men, Ms. Wright against her husband, the two women against their spouses and the other men. The male characters are logical, arrogant, and stupid while the women are sympathetic, loyal, and drawn to empathize with Mrs. Wright and forgive her crime. The play questions the extent to which one should maintain loyalty to others. Mrs. Peters and Mrs. Hale try to withhold incriminating evidence against Mrs. Wright, and by challenging the reader to question whether
Noted in Yvonne Tasker’s Working Girls: Gender and Sexuality in Popular Cinema, Goldie Hawn says this about women's role in the film business “There are only thee ages for women in Hollywood: Babe, District Attorney and Driving Miss Daisy” (1998, p. 3). While Haw...
...he classical comedy movie when making the film, Some Like It Hot. First, the plot line starts out from a violent St. Valentine’s Day murder by the gang. Usually, it is difficult and unusual to casually develop from a violent scene to a comical view. However, this film was well constructed in shifting from a violent murder scene to a comical disguise of two men. Moreover, I figured out that only the half of the script was written in the beginning of the movie shoot. Furthermore, the film itself is two hours long, which may become tedious for a comical film. Despite all of these aspects, the film was truly a commercial and long-term success. This clearly conveys that the infringing of the classic comical film’s path is the secret recipe of a lasting triumph. This may be the reason why AFI selected the film, Some Like It Hot, as one of the paramount comedy film by far.
In conclusion, David Lodge managed to embody the concrete term of feminism. Through the character of Robyn Penrose, he creates the breakup of the traditional Victorian image of woman.“ `There are lots of things I wouldn 't do. I wouldn 't work in a factory. I wouldn 't work in a bank. I wouldn 't be a housewife. When I think of most people 's lives, especially women 's lives, I don 't know how they bear it. ' `Someone has to do those jobs, ' said Vic. `That 's what 's so depressing. ' ”(Lodge
Susan Glaspell’s Trifles (1916), is a play that accounts for imprisonment and loneliness of women in a patriarchal society. The plot has several instances where women issues are perceived to be mere trifles by their male counterparts. The title is of significant importance in supporting the main theme of the story and developing the plot that leads to the evidence of the mysterious murder. Trifles can be defined as things of less importance; in this story dramatic, verbal and situational irony is used to show how the insignificant trifles lead to a great deal of truth in a crime scene investigation. The title of the story “Trifles” is used ironically to shape the unexpected evidence discovered by women in