IMDb > The Stepford Wives (1975)
The Stepford Wives
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The Stepford Wives (1975) More at IMDbPro »

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Overview

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Up 2% in popularity this week. See why on IMDbPro.
Director:
Writers:
Ira Levin (novel)
William Goldman (screenplay)
Contact:
View company contact information for The Stepford Wives on IMDbPro.
Release Date:
12 February 1975 (USA) See more »
Tagline:
Something strange is happening in the town of Stepford. See more »
Plot:
Joanna Eberhart has come to the quaint little town of Stepford, Connecticut with her family, but soon discovers there lies a sinister truth in the all too perfect behavior of the female residents. Full summary » | Full synopsis »
Plot Keywords:
Awards:
1 win & 1 nomination See more »
NewsDesk:
(23 articles)
Paranoid celluloid: conspiracy on film
 (From The Guardian - Film News. 7 February 2014, 4:06 PM, PST)

10 remarkable things about The Swarm
 (From Den of Geek. 30 September 2013, 10:17 AM, PDT)

'The World's End' ... Stepford Men ... Ekk!
 (From The Wrap. 26 August 2013, 1:40 PM, PDT)

User Reviews:
The Stepford Wives See more (132 total) »

Cast

  (in credits order) (verified as complete)

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
Enrico Cortese .... 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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Additional Details

Also Known As:
Runtime:
115 min | UK:100 min (2004 DVD release) | UK:110 min (2001 DVD release)
Country:
Language:
Color:
Color (TVC)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Certification:

Did You Know?

Trivia:
Brian De Palma was approached to direct in early 1974, due to the surprise success of his first feature, Sisters (1973); however, negotiations fell through and he ended up filming the suspense melodrama Obsession (1976) instead.See more »
Goofs:
Continuity: In the end, when Joanna returns to her home to get the children to escape Stepford, it is dark out. When confronted by her husband, she runs upstairs to her room, the hall is lit by daylight.See more »
Quotes:
Joanna Eberhart:What do you think they do up there?
Bobbie Markowe:Watch dirty movies and reminisce about the Good Old Days.
Joanna Eberhart:What Good Old Days?
Bobbie Markowe:Like those Good Old Days when "Playboy" used the airbrush!
See more »
Movie Connections:
Version of The Stepford Wives (2004)See more »

FAQ

This FAQ is empty. Add the first question.
35 out of 40 people found the following review useful.
The Stepford Wives, 26 January 2000

It seems "The Stepford Wives" is enjoying a revival. However, it has been a cult movie since its release. As Gregory J. Paris writes, the act of losing one's personality while adjusting to conformity is an important issue in this film. In addition, it deals with man's obsession with "creating", until the day he realizes that the act of procreating is perhaps humanity's greatest gift for creation. It also reminds us of the cult to the mother figure, of the dangers of modern technocracies, of phallocracy… All these concepts are expressed in a peculiar form in "The Stepford Wives", a movie that deserves to be included among the best of Hollywood's second golden era, the 1970's. Director Bryan Forbes, producer Edgar J. Scherick, and, among the performers, actress Paula Prentiss, recognized comedy as an intelligent genre to make a social comment about society, with Stepford as a metaphor. With moving dolls bestowed with graceful movements, dressed in long dresses, wearing hats and carrying parasols, the tone of the sophisticated American comedy seems appropriate to tell this horror story. The connection with dolls is established since the first sequence, when --following husband Walter's unilateral decision-- the family is moving to Stepford, and the kids call mother Joanna's attention to someone carrying a mannequin across a street in New York City: this aspect is used again, most notably when Joanna hosts the Stepford husbands, dressed in a flesh-colored suit. In Stepford, a liberal suburb, with good schools, low taxes, pure air, and business dedicated to electronics, you can sleep with your doors open. Wives are all dressed up, they have no interest in women's rights, and except for Bobbie Markowe and Charmaine, the rest –-when not cooking or ironing-- complain of not being able to bake every day, or would promote for free a brand of starch spray, just because it is such a good product. The funny thing is that the husbands are as boring and robot-like as their wives. They're all successful professionals, who obediently have joined the men's association, which turns into Joanna's headache and builds the tension of the film. There is little suspense in "The Stepford Wives", as we know it in other motion pictures: since the beginning we know that something is wrong, but the filmmakers make us watch the anomalous situation, with Michael Small providing music that is far from horror or suspense scores. What Forbes and company do is to tease us, because we know that Joanna will become Playmate of the Year (check the poster!), following the drawings of an ex illustrator from Playboy magazine, and the technical specifications of a former Disney executive. When she understands why Carol acts like a zombie, why Charmaine hangs her tennis outfit, and why Bobbie turns into a 'chic' housekeeper, Joanna is confronted with her own replica. Why? Because the males can. As simple as that: "Me Tarzan, you second person, you stick to the loser position in a game that I always win". "The Stepford Wives" reminds me of another movie, L.G. Berlanga's "Tamaño natural" (Life-Size), in which Michel Piccoli buys himself a plastic doll to replace his wife. Berlanga and his writers Rafael Azcona and Jean-Claude Carrière emphasized psychological aspects. On "Stepford", while many of its comments add spice to the story (someone affirms that blackmail is what makes America great, another male has been sent to Panama maybe to arrange things for a new revolution or a new invasion), they also point to social and political reasons for this state of things, of this dehumanized community that money and know-how can buy. The technological paranoia enters the main bedroom. The male, confronted with the agony of some of his gender's privileges, his false attributes and wrong values, hits against the female. This may seem pessimistic, but it is also very realistic. The points "The Stepford Wives" made when released, created a controversy in 1975. Since then science has advanced. Maybe now they can make better Stepford wives, that cannot be altered by liquor or a stab, but many things related to the human heart remain the same. The problem is still there, because our egomaniac approach to our fellow human beings of any gender has remained basically the same, making the film actual still today.

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