| Photos (See all 24 | slideshow) |
Directed by | |||
| Bryan Forbes | |||
Writing credits | ||
| Ira Levin | (novel) | |
| William Goldman | (screenplay) | |
Produced by | |||
| Gustave M. Berne | .... | executive producer | |
| Roger M. Rothstein | .... | associate producer | |
| Edgar J. Scherick | .... | producer | |
Original Music by | |||
| Michael Small | |||
Cinematography by | |||
| Owen Roizman | (director of photography) | ||
Film Editing by | |||
| Timothy Gee | |||
Casting by | |||
| Juliet Taylor | |||
Production Design by | |||
| Gene Callahan | |||
Set Decoration by | |||
| Robert Drumheller | |||
Costume Design by | |||
| Anna Hill Johnstone | |||
Makeup Department | |||
| Andy Ciannella | .... | makeup artist | |
| Romaine Greene | .... | hairdresser | |
| Dick Smith | .... | makeup artist (uncredited) | |
Production Management | |||
| Neil A. Machlis | .... | unit manager (as Neil Machlis) | |
Second Unit Director or Assistant Director | |||
| Michael Haley | .... | second assistant director (as Mike Haley) | |
| Peter R. Scoppa | .... | first assistant director (as Peter Scoppa) | |
Art Department | |||
| Don Bachardy | .... | drawings | |
| Stanley Cappiello | .... | scenic artist | |
| Joseph M. Caracciolo | .... | property master | |
Sound Department | |||
| Janet Davidson | .... | sound editor | |
| Jack Fitzstephens | .... | sound editor | |
| James Sabat | .... | sound mixer | |
| Dick Vorisek | .... | re-recording mixer: Trans Audio Inc. | |
Camera and Electrical Department | |||
| Enrique Bravo | .... | camera operator | |
| Muky | .... | still photographer | |
| Gary Muller | .... | second assistant camera | |
| Tom Priestley Jr. | .... | first assistant camera (as Tom Priestly Jr.) | |
| Dusty Wallace | .... | gaffer | |
| Robert Ward | .... | key grip (as Bob Ward) | |
Costume and Wardrobe Department | |||
| Peggy Farrell | .... | wardrobe | |
| George Newman | .... | wardrobe | |
Editorial Department | |||
| Patrick McMahon | .... | assistant editor | |
| Irving Rathner | .... | negative cutter | |
Music Department | |||
| Suzanne Ciani | .... | musician: electronic music | |
| Michael Small | .... | conductor | |
Transportation Department | |||
| Raymond Hartwick | .... | transportation | |
Other crew | |||
| B.J. Bjorkman | .... | script supervisor | |
| Robert Ellis | .... | titles | |
| Martin Fribush | .... | executive: Fadsin Cinema Associates | |
| Shari Leibowitz | .... | production secretary | |
| Gaetano Lisi | .... | production assistant (uncredited) | |
| Kay Summersby | .... | fashion consultant (uncredited) | |
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| The Stepford Wives | Dogville | The Cat o' Nine Tails | Mr. & Mrs. Smith | The Howling |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Horror section | IMDb USA section |
"The Stepford Wives" certainly isn't the greatest thriller ever made, it isn't one of my all-time favorite movies, yet I've probably seen it 25 times and I'm always willing to return for more of its creepy, seductive ambiance. Director Bryan Forbes has created a funny/sinister atmosphere surrounding a secretive society of men in suburbia who exchange chilling glances and lines when they are alone ("She cooks as good as she looks, Ted."). It does however feature a very moody and unhappy Katharine Ross at the center, and it's easy to see why somebody might want to bump her off: she gripes, she complains, she stalks out of rooms flicking her long, thick hair out of her face. When Patrick O'Neal tells Ross at a social gathering that he used to work at Disneyland, she balks, "You don't look like someone who enjoys making other people happy." This just after meeting the man! Thank goodness then for happily crass and vulgar Paula Prentiss as Katharine's gal-pal Bobbie. Prentiss overdoes it a bit, but she comes into the picture at the right time and gives it an extra lift. The scenario (a squeaky clean Connecticut community) is gleefully turned inside out to reveal sinister underpinnings, and I loved Ross' sequence with the psychiatrist (who seems convinced by Katharine's outlandish story, which is a nice change of pace). No, it isn't art (or even the black comedy screenwriter William Goldman says he intended it to be), but "The Stepford Wives" is smooth, absorbing, and enjoyable. It cooks as good as it looks. ***1/2 from ****