Ira Levin's pulp novel was spun into cinematic junk food gold with this surprisingly timely (both then and now) tale about strong, independent women falling victim to the patriarchy of the ruling class...men. The title has of course become a pop culture adjective describing trophy wives but the film still has some life in it. Katherine Ross and Paula Prentiss are both great here well supported all around.
I watched this once as a teen years ago and wasn't that really thrilled from how it progressed until the last several minutes when the heroine discovers the secret behind her society, which I thought that was the only best & thrilling part of the film. Oh, well... only if I could give another watch, then I would rather be more pleased about it.
Has some great atmosphere, but is unfortunately too slow and dry to really live up to its potential. Great performances, some nice satiric jabs at 70s American culture, and a few effective scenes that are unfortunately too few - the tension doesn't really pick up until towards the end, though it does have a strong ending. Still far superior to the completely misguided 2004 remake.
Never watch the remake again. These films have almost nothing in common. This original is genuinely thrilling and actually terrifying. The metaphor is disturbing and the film says more today than in '75. Keep an eye out for the stellar production design, costumes, and awesome sound design. It's funny to see how in this version the reveal wasn't show til the last 5 minutes, the remake revealed it af the end of act 1.
This is a great little horror film, that feels like an expanded TZ or Night Gallery ep. Ross is great, as is Prentiss, and their chemistry is contagious. Two very underappreciated actresses in their time. The utopian suburbia depicted is not unlike a less trashy Real Housewives ep full of cookie cutter bimbos. The ending was very depressing I thought. Just the vanilla world closing in on all concerned. Great. 4.5
Bryan Forbes suffuses each frame with a sure sense of dread and paranoia. You can call it anything you want: Cult, Campy, Feminist or whatever. But watching Nannette Newman slowly and meticulously repeat the line "I'll just die if I don't get this recipe" as she stumbles her way through a hip pool party crowd, I couldn't help but be creeped out.
Lo sapete perché quando ci stanno film dove gli uomini vengono rappresentati come degli egoisti, disposti a sfregiare chiunque gli stia intorno per essere coccolati e assecondati nelle loro insicurezze e fantasie infantili, nessuno di noi si lamenta?
Perché è vero.