Now look at this, someone made the Handmaid's Tale into something watchable. You know what the difference between this and the series is? I'll give you a hint it's two things... do you have it yet? Time and story. The TV show has FAR too many episodes, and each is far too long to tell a compelling story. The 1990 HBO version is only about 100 minutes. It's not dragged out to the point where it is filled to overflowing with, well, with filler. It delivers a clean and concise story that didn't spare a cut. And because of that it works. But.... it also has Faye Dunaway, and it has Natasha Richardson, and it has Robert Duvall, and it has Aidan Quinn... and those are all people that everyone would be honored to cast, and they were certainly people that anyone would be thrilled to cast back in 1990. So, what you have is a clean script that is void of unnecessary filler (and in the case of the TV series, free of painfully long unnecessary filler) and that script is acted out by some of the best people in the industry. You can't ask for more.

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Yikes, but there must have been some volume of hairspray used in this production that makes the "Stepford Wives" look like an ordinary family street. The women are divided into two groups in this futurist version of the USA. The blue are the privileged and wealthy, the red are the surrogates in a society that cannot now readily breed. A few lucky men are the commanders, lording over everyone and having their own fun trying to conceive children much as roosters fertilise hens. "Kate" (Natasha Richardson) is one such red dress. She is to be indoctrinated into the mansion run by "Serena Joy" (Faye Dunaway) so she can service the sexual needs of the boss (Robert Duvall). Now they only have a certain amount of tries at the conception lark, and if they don't come up with the goods then they go back to an homeless oblivion. She isn't getting pregnant but nobody dares to ask if it's the "Commander" who is firing blanks so she befriends him, tries to earn his trust whilst all along making plans with his driver "Nick" (Aidan Quinn) to get the hell out of the place. She might just be in luck as there is an increasing unrest amongst society at large with this hierarchical and zealous societal structure that sees the wealth - money, food and children, in the hands of very, very few. It's starts off quite intriguingly but pretty quickly runs out of steam with some really stilted performances and dialogue - despite having Margaret Atwood and Harold Pinter as the wordsmiths. Dunaway doesn't really appear enough to make much difference and by half way through I thought that it might have worked better on stage - though whether I'd have bothered to leave the bar after the interval is a good question. It's all adequate enough, just nothing special.

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