Escravidão Matrimonial

OK, so the plot is far-fetched, lame and offensive - the movie is a hoot! Keep in mind that I would watch anything with Sharon Gless - but she and Julie Kavner are a good team. A young Don Johnson appears as bland and clued-out Kavner's cop husband. Sharon, the reporter, arrives to do a story on the perfect town of Stepford. She hires Julie as an assistant who promptly gets nabbed by the Stepford gang. Her husband is in on it, of course. Sharon sets out to save Julie - Don and the whole town set out to stop her. Lots of chases, peril and the bad guys get what they deserve. Save it for a rainy day when you want a taste of some familiar TV faces in their early years.

This film essentially begins 10 years after its predecessor left off with all of the women living in Stepford completely docile and totally committed to their husband's interests above all else. So much so that, after the manager of a particular television show reads about the low crime and divorce rates in that town, he decides to send an investigative journalist named "Kaye Foster" (Sharon Gless) to check it out. Sure enough, she is amazed at how incredibly dull and domesticated the women appear to be. Fortunately, there is one particular young woman by the name of "Megan Brady" (Julie Kavner) who doesn't quite fit that mold and she is quickly hired by Kaye to help with her research. What neither of them realize, however, is that there are people within the town who are extremely concerned about having their devious secrets exposed and will do anything necessary to prevent that from happening. Now, rather than reveal any more, I will just say that this made-for-television sequel deviates somewhat from the original film concerning the manner in which the Stepford wives were subjugated against their will. If anything, I found it to be a bit more plausible to a certain--albeit quite limited--degree. Be that as it may, I didn't find this movie to be nearly as good as its predecessor due in large part because it lacked the same level of intensity and suspense. No doubt its made-for-television format had something to do with that, but in any case, I didn't quite capture my interest all that much and for that reason I have rated it accordingly. Slightly below average.

Maybe if I had never seen the original or read the book, I might have been mildly amused, but I doubt it. The fact is the husbands were killing their wives and replacing them with robots. An idea scarier today than it may have been then because it seems more possible that it could happen in the near future. But this movie's premise that the wives are servants because once a day when a big horn sounds, they all drop everything and take a pill is pretty stupid. If I were Ira Levin, I would've sued.

With the recent remake of the original Stepford Wives, this time as a comedy with Nicole Kidman, Bette Midler, Christopher Walken, Glenn Close and Matthew Broderick, there may be interest in in the original with Katherine Ross and Paula Prentiss, as well as this 1980 sequel with Sharon Gless, Don Johnson and Julie Kavner, yes, she who does the voice of Marge Simpson.

I would see this version first before I would see the original 1975 movie.

Normally I do not care for women vs. men programs done in such a moralistic light, but I am aware of sexism in society and that there is beliefs and opinions that women "should be more supportive, obedient and submissive" to their men, with the men not having to reciprocate.

Having since seen the original, which seemed more like a spoof on tv commercials to me than anything else, this one did seem to delve more into women being doting housewives.

Gless was a single woman who came to town. That alone upsets this whole cart. I wonder how Stepford handled that? Does someone get a concubine in the process?

We did glimpse an unnamed couple attempting to flee at the very beginning. They don't make it. I was misled to think this was a couple shown in the original, which they weren't.

Also, this one did take the approach that the women aren't replaced with robots, they are drugged.

The first Stepford was more of a Twilight Zone movie as well. This one sought to give the wives their revenge. Granted, had the robots of the first one rebelled, it might have been interesting, but then it could also have simply been "Westworld, the Women."

Nevertheless, nothing failed in this sequel. The siren going off for the women to take the medication could have been absurd, but it was kept low-key, as was the women in the lacy outfits and aprons.

I only truly grasped there was something impractical about the dresses when Kavner commented to Gless about it in the car.

Yes, Revenge was nearly a totally different movie from Stepford Wives, different motives, different outcome, but there has been sequels that pretty much follow the same path as the original and those are no fun.

Want to see the women lose? See the 1975 movie.

Want to see the men lose? See the 1980 sequel.

There is a third, horrendous movie, called Stepford Children, with Barbara Eden, Don Murray and Tammy Lauren. Avoid this one at all costs. It doesn't add anything further to this concept.

In REVENGE OF THE STEPFORD WIVES, it's been ten years since the events of the first film.

A resistant resident of the oddly idyllic suburb meets with an unfortunate fate.

Enter TV reporter, Kaye Foster (Sharon Gless), who's in town to investigate Stepford's unusually low rates of crime, divorce, etc.

Meanwhile, the secret, male cabal, led by the sinister Dale "Diz" Corbett (now played by Arthur Hill), uses their army of mindless fembots to keep a watchful eye on Kaye.

For her part, Kaye catches Stepford's crazy vibe right away, as she observes the creepy, somnambulistic wives going through their daily routines. Not surprisingly, the deeper Kaye digs into this bizarre mystery, the more danger she finds herself in, and anyone who attempts to help her doesn't fare very well.

While never approaching the sublime, satirical terror of the original film, REVENGE does have its moments, some of which are quite suspenseful. The wives are convincing, especially Barbara Parkinson, played brilliantly by Audra Lindley. Her "remote control" scene is a classic!

One of the better made-for-TV movies of the period. Watch for the magnificent grrrl power finale!

Co-stars Don Johnson as a police officer with a particularly rebellious wife...