Brian Forbes' psychological thriller in 1975 "The Stepford Wives" is a warning story of the centuries. There is a camp element of the film that only tightening its satirical edge, but when it relies on its stunning comment, the pathos is original. The adaptation of Ira Levin's eponymous novel, "The Spepford Wives" has collected consistent cultural mileage for decades, inspired the newer mystery thrillers like "Don't worry about darling" (which essentially doubles the premise of the original without success or persuasion).

Although Forbes' story is more layered than initially, the basic criticism lies in the systemic submission of women through patriarchal practices, where they are reduced to non-facilities that are subordinate to the men they are married. This was brought to disturb the extremes in Forbes' film, and when Annaoana Eberhart (Ketarin Ross) moved to Stepford with her husband, we must see the strange social behavior of the community through the eyes of the confused skeptic. Annaoana immediately notes that women in the community are obsessed with being perfect housewives, while men are more than happy to make the naked minimum and rejoice in the subjugation of their wives.

The psychological horror aspect of the film intensifies to the end, leading to pretty dark end. Although the story is nowhere almost perfect, it links the identity policy of trade activity with widespread consumerism in some interesting ways. As culturally relevant as Forbes's film, it is a lesser known fact that "Stefford's wives" caused three (!) Related titles, forming a horror franchise that is still overshadowed by the original.

The first direct sequel in question is the 1980s "Revenge of Stepford's wives", " Made a horror thriller for TV 10 years after the events of the original film. This little story examines the consequences of couples who want to leave Stepford, encouraging TV rapporteur Kay Foster (Sharon Gress) to visit the seemingly idyllic investigation community. The immediate signs that something wicked is more open here, as Kay noticed women who shoot pills multiple times a day after the siren fueled through city speakers. As the plot progresses, Kay has established itself as a sharp, resourceful protagonist dedicated to the emancipation of women captured at Stepford, even after learning the heinous truth. This is one of the better entries in the franchise, despite playing an ambiguous end that does not fully investigate the central trophy of revenge.

Next, we have "Children at Stepford" in 1986, in which the couple moved to Stefford with their children, David (Randall Batinkoff) and Mary (Tami Lauren). David and Maria's father, Steven (Don Murray), seem to be bothered by their dismissed and carefree spirits and joins the unusual Men's Association to assimilate them in obedient, scored robots with little or without feeling. Children, although not aware of this, are scattered by the views of adults around them, who appear to be obsessed by following their children to help them achieve a "perfect" social image. Now, this is a decent monitoring of the "revenge", but also lacks the fineness of his predecessors, along with the conviction of telling a story that remains committed to the topics of abuse of parents and its repercussions.

You may have already felt a topic here, so it should not be surprising that the final entrance to this series is called "Stefford's husbands" (which opens with a man forcibly killing his wife before committing suicide). The story is trying to overturn the original concept of the head by presenting men at Stepford to obey its wives, with the Institute of Human Behavior Responsible for this change. Aside from writing writing and uninspired performances, this inverted concept in "Stepford Husbands" falls flat due to the glittering lack of real life from a mirror, because even the strongest brand of bad can not be compared to the frightening consequences of violent misogyny that affect All In society. This is the loudest transfer of the famous premise and the most creatively bankrupt outside the trio.

Although nothing can darken the cruel impact of the originals in 1975, these following (except for the third) are decent enough for a one -time clock.