After a single, career-minded woman is left on her own to give birth to the child of a married man, she finds a new romantic chance in a cab driver. Meanwhile, the point-of-view of the newborn boy is narrated through voice-over.
The Addams step out of Charles Addams' cartoons. They live with all of the trappings of the macabre (including a detached hand for a servant) and are quite wealthy. Added to this mix is a crooked accountant and his loan shark and a plot to slip in the shark's son into the family as their long lost Uncle Fester. Can the false Fester find his way into the vault before he is discovered? Written by
John Vogel <firstname.lastname@example.org>
David Levy, who executive produced The Addams Family (1964), filed a lawsuit against Paramount after the film was released. He claimed that many Addams Family character "trademarks" used in the film, including Gomez' fascination with blowing up model trains, the characters of Thing and Cousin Itt, Lurch's fondness for playing the harpsichord, and the passionate tangos danced by Morticia and Gomez, were original ideas created by him exclusively for the TV series and not part of the original Charles Addams cartoons, for which Paramount had purchased the movie rights. The lawsuit was later settled out of court. See more »
Fester tells Wednesday to "Aim for a major artery: the jugular!" However, the jugular is a vein; the major artery in the neck is the carotid. See more »
[Playing with the train set, ranting about Fester's finger-trap]
How do you take it off? That's absurd! That finger trap was a party favor at his tenth birthday!
[In the room below, Morticia is reading a bedtime story to Wednesday and Pugsley. She looks up at the noise]
Father's playing with his trains.
He wore that finger-trap for two years! Mother had to teach him to eat with his feet! And the combination! AND the password! And my cigar! And he slept so well!
[...] See more »
Charles Addams' dark characters get the film treatment in Barry Sonnenfeld's THE ADDAMS FAMILY, which is something of a cross between the actual New Yorker comics and the 1960s television show. Not trying to lean too far to either, the movie stays at a safe plane, even incorporating a vague plot involving two grifters, Gordon and Abigail Craven, posing as Uncle Fester and a renowned psychiatrist (Christopher Lloyd and Elizabeth Wilson) who are in cahoots to rob the Addams of their fortune and house. The problem arises when Craven seems to go against his take-the-money-and-run attitude and when the Addams themselves appear to enjoy every minute that they're being taken advantage of. It suits the dark humor well, because since the Addams live in an alternative universe of their own creation in which dark is light, repugnant is beautiful, pain equals pleasure, death is life, and chaos equals order, it leaves the door open for many of their Gothic eccentricities to pull the rug over Lloyd and Wilson over and over again. It's clever, although its only problem is the "needing to introduce the characters we all know" setup which like in all movies based on comics or television shows, looks obvious.
But despite this, everyone is uniformly excellent. Raul Julia and Anjelica Huston lend their looks to embody their cartoon counterparts and are the romantics at the heart of this decidedly perverse story. Christopher Lloyd is also great in his representation of Uncle Fester. But hands down: the one who walks away with the entire movie is Christina Ricci who plays Wednesday as if she were living the role day by day. There's a sadistic gleam in her eyes and her voice that not many child actors have and I think that any other actor of the time that this film was made would have been unable to fit into this difficult part. Other than that, the tone of the movie is perfect: as dark as it wants to be, but never letting its Gothic setting drown it in an inescapable mire. On the contrary, we're constantly aware that this is a typical American family who lives upside down and who are happy in being so even when we gawk and cringe at their oddities.
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