Joanna Eberhart, a wildly succesful president of a TV Network, after a series of shocking events suffers a nervous breakdown and is moved by her milquetoast of a husband, Walter, from Manhattan to the chic, upper-class and very modern planned community of Stepford, Connecticut. Once there, she makes good friends with the ascerbic Bobbie Markowitz, a jewish writer who’s also a recovering alcoholic. Together they find out, much to their growing stupor and-then horror, that all the housewives in town are strangely blissful, and somehow… doomed. What is going on behind the closed doors of the Stepford Men’s Association and the Stepford Day Spa? Why is everything perfect here? Will it be too late for Joanna and Bobbie when they finally find out? —IMDb
Born in Hereford, England, Frank Oz (born Frank Oznowicz) graduated from California’s Oakland City College during 1962 and joined the humans behind Jim Henson’s fledgling Muppet group as a puppeteer the following year. He was part of the first-season cast of Saturday Night Live as the Mighty Favag and appeared in The Blues Brothers with John Belushi and Dan Aykroyd. After The Muppet Show went on the air in 1976, Oz became vice president of the Henson organization, and was responsible for the portrayals of Miss Piggy, Fozzie Bear, and Animal, among other characters, earning three Emmy Awards for his work on the show. He later served as a producer for The Great Muppet Caper (1980), directed by Henson, with whom he co-directed The Dark Crystal a year later. He later directed The Muppets Take Manhattan in 1984. Two years later, with Henson in the director’s chair, Oz was one of the voices in Labyrinth. Moving outside of Henson’s orbit, Oz directed the screen version of the musical Little… read more
How can someone fuck up such a good story? It drained the story of it's political message and replaced it with crass sexual jokes and pretty floral dresses. It's not supposed to be funny, it's supposed to be terrifying. And the novel employs SUBTLE horror, the viewer doesn't need to be smacked over the head with cheap science fiction (oooh, robots!) When you're dealing with a feminist dystopia, keep it SMART, jesus!
Bette Midler and Roger Bart each get a star, and that would make a two star rating, but I enjoy this film in so much (more than I should) that I'll give it three stars. I can't help it :)