In the colorful, consumer-driven comedy The Incredible Shrinking Woman (released in theaters on Jan. 30, 1981), Pat Kramer (Lily Tomlin) lives a quintessential suburban life until a bizarre chemical reaction changes everything.
After being exposed to a cocktail of experimental household products, perfumes, and detergents, Pat begins to physically shrink.
Her husband, Vance (Charles Grodin), an advertising executive, tries to maintain a sense of normalcy, but as Pat dwindles from the size of a child to that of a doll, the logistics of their home life become increasingly surreal.
Her plight catches the attention of the sinister Organization for World Larceny (O.W.L.), led by the manipulative Dan Beame (Ned Beatty) and the eccentric Dr. Eugene Nortz (Henry Gibson), who plan to kidnap her to study her condition for a plot to shrink the entire world’s population.
Directed by Joel Schumacher in his feature debut, the film shifts from a domestic comedy into a frantic adventure.
Pat is eventually imprisoned in a laboratory where she is guarded by the slimy Tom Keller (John Glover).
Amidst the oversized sets and vibrant production design, Pat finds an unlikely ally in a laboratory gorilla named Sidney.
The plot serves as a biting commentary on the “better living through chemistry” ethos of the era, culminating in a desperate struggle for Pat to regain her stature—or at least her dignity—before she disappears entirely into a world of oversized dangers.
Elizabeth Wilson, Mark Blankfield, Pamela Bellwood, Joe Spano and Sally Kirkland round out the cast.
Mike Douglas appeared in a cameo as himself with Pat as a guest on The Mike Douglas Show.
The Incredible Shrinking Woman (Photo/Universal Pictures)
Reception for The Incredible Shrinking Woman
The Incredible Shrinking Woman grossed $4.3 million on its opening weekend, finishing No. 1 at the box office.
The film would gross $20.4 million in its theatrical run.
Roger Ebert gave the film two and a half out of four stars in his review.
Legacy
The Incredible Shrinking Woman‘s legacy lies in its clever transformation of a classic sci-fi premise into a vibrant social satire.
While inspired by Richard Matheson’s earlier, more somber take on the concept, this 1981 version used its protagonist’s physical reduction to highlight the literal and metaphorical “shrinking” of the American housewife.
Furthermore, the film is remembered for its distinct “pop-art” aesthetic, which would become a hallmark of Schumacher’s later career.
