This film was marketed, somewhat, as a sci-fi film (mainly due to the speculative nature of its society); but, in my opinion, it's more horrific than anything from Stephen King. Imagine a society ruled by a totalitarian theocracy, and a patriarchal one at that. Women have been reduced to subservient roles and minorities have been removed. Environmental matters and social upheaval have left a large portion of the controlling population sterile. To counteract this, fertile women are forced to become "handmaids", breeding stock for those in power (justified by a small passage from Genesis). What really makes this premise scary, is that it represents ideas pushed by some fundamentalist groups within this society. Also, there is enough twisted logic to almost make it seem benign; but, that is always the way with fascists.
Spoilers: Natasha Richardson plays Kate, a former librarian who tries to flee this repressive state with her family. They are caught at the border, where her husband is shot and killed and she becomes separated from her daughter. She is then transported to a holding facility where she is subjected to indoctrination, prior to being placed in the home of one of the society elites. Richardson is rather low key throughout the film. She never really seems to generate much emotion, even when asking about her missing daughter. Normally this would be a problem, but it works within this sterile society. Perhaps she has been so brutalized by this society, she has lost touch with her emotions. In other roles, this lack of emotional range has hindered Richardson; here, it is an asset.
Faye Dunaway is chilling as Serena Joy. She is cold, calculating and ruthless, which Dunaway is an expert at portraying. She is lost in this society, where her identity entirely revolves around her role as the Commander's wife, when she once held celebrity status. She no longer has any emotional connection to her husband, and thinks a child will change that. She doesn't even care if the child is fathered by her husband, just so long as it exists.
Victoria Tennant is even scarier. As Aunt Lyddia, she exudes a calm demeanor as she spouts a twisted ideology. She becomes even more terrifying as a psychotic gleam enters her eyes; like when she spreads the lies that the political prisoner, who is murdered by the mob of handmaids, was a rapist and murderer. Tennant conveys so much menace with a look. She is easily Dunaway's equal in the villainy department and a highly under-utilized actress.
Elizabeth McGovern is Moira, a lesbian who befriends Kate at the indoctrination center. She is smart and sassy and it's her intelligence, not her sexuality that presents a threat to this society. She is able to counteract their indoctrination and, briefly, escape her fate. She ultimately ends up as a prostitute in a secret brothel. The very nature of this brothel exposes the religious hypocrisy of this society.
Finally, Robert Duvall is the Commander, one of the leaders of this state. At first, he almost seems like a kind, decent man. He tries to befriend Kate and takes pleasure in her intelligence. It's only when you see him try to justify his role in this society and the actions that were take to create it, that you begin to see what a little man he is. He is like so many figures within fascist states: failures in their previous endeavors who take out their frustrations on others in weaker positions. Despite his superior position in society, the true power of the family is Serena Joy. He lives in fear of her and probably acted initially at her urging.
The other male character of consequence is Aidan Quinn, as Nick, the Commander's driver. He is a more positive male figure, one who loves Kate and, ultimately, helps her escape. He is a rebel, living undercover, who is trying to tear down this society. The question that is left open is whether he was always in league with the rebels, or only sought them out after falling in love with Kate. Quinn is fairly emotionless throughout; but, again, it works within the context of this society. He is probably the weakest of the cast, though.
I haven't read the novel, although I have skimmed through it. While the film may not be wholly faithful to the novel, it does capture the spirit and themes of the book. I saw the film first, attracted by the alternate world scenario. When I looked through the book, I discovered the concept of the handmaid's names. In the film, hearing Kate being called "Offred" didn't register in my brain as "Of Fred", meaning she was his property. It sounded like a weird name in a strange society, not unlike the names slaves were given in the South, or one that would be given to a pet. That alone illustrates how chilling this society is: that they can present an evil idea in such a way as you don't connect the evil to the idea.
Ultimately, this is a flawed film, but one that succeeds in conveying its ideas. I shudder to think how this would have been done with an American director and a Hollywood studio production. It clearly illustrates the dangers of fundamentalism and the stagnating force of totalitarian regimes.
Spoilers: Natasha Richardson plays Kate, a former librarian who tries to flee this repressive state with her family. They are caught at the border, where her husband is shot and killed and she becomes separated from her daughter. She is then transported to a holding facility where she is subjected to indoctrination, prior to being placed in the home of one of the society elites. Richardson is rather low key throughout the film. She never really seems to generate much emotion, even when asking about her missing daughter. Normally this would be a problem, but it works within this sterile society. Perhaps she has been so brutalized by this society, she has lost touch with her emotions. In other roles, this lack of emotional range has hindered Richardson; here, it is an asset.
Faye Dunaway is chilling as Serena Joy. She is cold, calculating and ruthless, which Dunaway is an expert at portraying. She is lost in this society, where her identity entirely revolves around her role as the Commander's wife, when she once held celebrity status. She no longer has any emotional connection to her husband, and thinks a child will change that. She doesn't even care if the child is fathered by her husband, just so long as it exists.
Victoria Tennant is even scarier. As Aunt Lyddia, she exudes a calm demeanor as she spouts a twisted ideology. She becomes even more terrifying as a psychotic gleam enters her eyes; like when she spreads the lies that the political prisoner, who is murdered by the mob of handmaids, was a rapist and murderer. Tennant conveys so much menace with a look. She is easily Dunaway's equal in the villainy department and a highly under-utilized actress.
Elizabeth McGovern is Moira, a lesbian who befriends Kate at the indoctrination center. She is smart and sassy and it's her intelligence, not her sexuality that presents a threat to this society. She is able to counteract their indoctrination and, briefly, escape her fate. She ultimately ends up as a prostitute in a secret brothel. The very nature of this brothel exposes the religious hypocrisy of this society.
Finally, Robert Duvall is the Commander, one of the leaders of this state. At first, he almost seems like a kind, decent man. He tries to befriend Kate and takes pleasure in her intelligence. It's only when you see him try to justify his role in this society and the actions that were take to create it, that you begin to see what a little man he is. He is like so many figures within fascist states: failures in their previous endeavors who take out their frustrations on others in weaker positions. Despite his superior position in society, the true power of the family is Serena Joy. He lives in fear of her and probably acted initially at her urging.
The other male character of consequence is Aidan Quinn, as Nick, the Commander's driver. He is a more positive male figure, one who loves Kate and, ultimately, helps her escape. He is a rebel, living undercover, who is trying to tear down this society. The question that is left open is whether he was always in league with the rebels, or only sought them out after falling in love with Kate. Quinn is fairly emotionless throughout; but, again, it works within the context of this society. He is probably the weakest of the cast, though.
I haven't read the novel, although I have skimmed through it. While the film may not be wholly faithful to the novel, it does capture the spirit and themes of the book. I saw the film first, attracted by the alternate world scenario. When I looked through the book, I discovered the concept of the handmaid's names. In the film, hearing Kate being called "Offred" didn't register in my brain as "Of Fred", meaning she was his property. It sounded like a weird name in a strange society, not unlike the names slaves were given in the South, or one that would be given to a pet. That alone illustrates how chilling this society is: that they can present an evil idea in such a way as you don't connect the evil to the idea.
Ultimately, this is a flawed film, but one that succeeds in conveying its ideas. I shudder to think how this would have been done with an American director and a Hollywood studio production. It clearly illustrates the dangers of fundamentalism and the stagnating force of totalitarian regimes.