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Madonna was not a star when they began filming, but during the last week of production, Like A Virgin came out, and Seidelman captured on film the elusive quality that made Madonna a superstar. Thanks to “the Madonna movie” Seidelman was the hottest female director in conventional Hollywood.

Its lightness of tone, humor, and happy ending set it apart from much of independent filmmaking, where comedy has been traditionally undervalued. Smithereens was a downbeat version of her breakout hit, Desperately Seeking Susan, which was directed, produced and written by women.

Her short films won prizes, and she scraped together a tiny budget for Smithereens, about a young woman on the crusty edges of the 80s NYC club scene. Jeff has created an awkward promo film…he doesn’t even bother to iron his labcoat to make a good impression.ĭirector Susan Seidleman majored in design at Drexel University, and then became a film student at NYU. Victor Frankenstein could easily create life by impregnating a wife (or sweetheart!) but for some reason he wants to do it the hard way. Women seemed to be the lone creators of babies. Alexa, do the dishes.Įven though Frankenstein was penned by a woman, film adaptations usually lack a woman’s point of view, except, perhaps, for Elsa Lancaster’s ear-splitting shriek when she sees the prospective groom in her arranged marriage in The Bride… When the novel was written, the male contribution to the creation of biological life was imperfectly understood by most people. It’s a small step forward to envision humanoid members of the household.

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Now, we accept that we have androids (on Android devices!) talking to us on our phones and from our kitchen counters. Right has cinematic echoes all the way back to the evil Robot Maria, a double of the kindly human Maria in Fritz Lang’s Metropolis. The 20th century has been fascinated, not just by the creation of biological life in the laboratory, but first mechanical robots and now what we vaguely term A. In this story reverberate the monumental paradoxes of life and death, right and wrong, human and divine” (Hitchcock 6). It is on the one hand so true as to be universal, and on the other, malleable enough to conform to different times, places, peoples and moments in history. This very characteristic keeps the Frankenstein story alive, retold and reinterpreted through almost two centuries since its original appearance in Mary Shelly’s 1818 novel.

“All great myths balance irreconcilable opposites. This monster is mostly mute (at least until the sequel, The Bride of Frankenstein) and is neither a physical nor mental replica of his creator. Not the novel by Mary Shelly, in which Victor Frankenstein creates a frightsome but garrulous philosopher, with whom he can argue about the Enlightenment, but the 1931 film in which Boris Karloff embodies a monster envisioned by James Whale, make-up artist Jack Pierce and costume designer Vera West.

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If the film version of The Wizard of Oz is something like the American national fairy tale, in many ways the Frankenstein story proposes itself as the horror movie variation of silver screen comfort food. But we need new favorites, too! Movies to discover, when our old favorites have lost an infinitesimal bit of their glow. Barbara Stanwyck seducing Henry Fonda in The Lady Eve. Walter Catlett’s eyebrows going up and down as Katharine Hepburn tells him she’s “Swinging Door Susie” in Bringing Up Baby. Smith, the dog with whom he shares joint custody with Irene Dunne in The Awful Truth. We all have our favorite classic Hollywood comedies, with scenes that we love, and would watch over and over again. “A genuine oddball item, the film is either a botched experiment or an original hybrid…this witty screwball SF comedy seems a sure bet for videotape reevaluation” ( Cinefantistique review by Thomas Doherty). Its creature and creator (both John Malkovich) are dissected from a female perspective, and it seems crafted as a direct rebuke to John Hughes’ beloved Weird Science. This very 80s version of the Frankenstein story was directed by Seidelman after her smash hit “Madonna movie” Desperately Seeking Susan. Tasked with creating public support for a pricey android designed to withstand the rigors of space travel, Frankie finds herself creating not just a man, but a mensch.

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John Malkovich, Ann Magnuson, Glenne Headley (98 min) PG-13įrankie Stone (Ann Magnusson) is a crack ad exec, able to craft campaigns that make even bland politicians seem almost human. Right (1987) Directed by Susan Seidelman.