Cute ‘Freaky Friday’ (1976) leads to even better 2003 remake

When “Freakier Friday” hits theaters, it will be a sequel to the 2003 version of “Freaky Friday,” which remade the original (1976), which itself had two sequels (both in 1984). It also had a 1995 remake before the more famous remake, and a 2018 remake that no one noticed.

If you’ve only heard of the 2003 version with Jamie Lee Curtis and Lindsay Lohan doing a magical mother-daughter body swap, don’t feel bad. But you should also check out the 1976 original with Barbara Harris and Jodie Foster. Those are the two films I’ll look at here.

1976 version: Harris and Foster

Written by Mary Rodgers from her own 1972 book (which itself has three sequels, if you are a rabbit-hole fan), “FF’76” contrasts tomboy Annabel (Foster, 14 at the time) with housewife Ellen (Harris, 46). Both believe the other’s life must be super easy and has no sympathy – until they switch bodies by inadvertently making the same faux wish at the same time, triggering some sort of cosmic karma.

---

---

Interestingly, Rodgers’ portrayal of housewife life is farcical. Annabel (in mom Ellen’s body) does the same thing movie dudes thrust into housework (like Michael Keaton and John Candy in John Hughes films) do: They overflow the washing machine. The number of household services that the “mom” must shepherd all in one day (mechanic, carpet cleaning, drapery return) is absurd.

Meanwhile, Ellen’s day as Annabel seems more believably overwhelming, consisting of marching band rehearsal, a big field hockey game and a trick waterskiing showcase – especially since she has to somehow mimic a daughter who is the star hockey player and water-skier. (As a xylophone player, Annabel is merely competent.)

Having been both a student and a bachelor who does my own chores, I’d say the film gets student life more correct, though it’s doubtful Rodgers intended to say being a kid is harder than being an adult. Just that they’re different, along with the expected themes of “youth is wasted on the young” and “you can’t know someone till you’ve walked a day in their shoes.”

“FF’76” starts lightning fast after efficient sketches of Annabel’s and Ellen’s personalities. While never unlikable, it does slow down a bit and goes too big for the finale. There’s a certain gleeful absurdity in Ellen suddenly parasailing and Annabel suddenly driving, but the most basic green-screen compositing is used, and it can’t be taken seriously.

Interestingly, Harris has strikingly young-looking eyes and Foster has always looked wise beyond her years, so an alternate way this film could’ve been made would’ve been for the actors to actually swap: Harris playing the teenager in Harris’ adult body and Foster playing the adult in Foster’s teen body. This type of body switch was done in the “X-Files” episode “Dreamland,” and I didn’t like that choice, but it might’ve been neat just because of these two specific actresses.

2003 version: Curtis and Lohan

Easily earning a spot on lists of “remakes better than the original” is “FF’03,” which contrasts a neo-punk-rocker kid (Lohan, 17) with a workaholic mom (Curtis, 44). Sure, it’s a vehicle for Lohan to double-dip by pushing her music career (also done in 2004’s “Confessions of a Teenage Drama Queen,” which has a catchier single but is a much worse film) and to showcase Curtis’ comedy chops.

But it also features a tighter screenplay by Heather Hach and Leslie Dixon. The original is pleasantly likeable, but the remake is worthy of a permanent smile due to smart premises. The best new angle is the pair of romances: Ryan (Mark Harmon) is about to marry Curtis’ widowed Tess, and cool/nice kid Jake (Chad Michael Murray) catches the eye of Lohan’s Anna.

This leads to Curtis (or her stunt double) doing acrobatics around the living room to dodge Ryan’s attempts at a kiss. And also – you knew this double standard was coming – Tess “dates” Jake. It’s funny to see the restaurant patrons in the background side-eyeing this age-gap couple bonding over the a cool cover of Britney Spears’ “Hit Me Baby One More Time.” I imagine cops would be called if the genders were switched.

---

---

This is truly an example of a script updated to reflect a new era, as psychiatrist Tess is such an extreme workaholic that she gathers a half-dozen digital devices to stuff into her purse at the start of the day. (Granted, it’s a comedic exaggeration even for 2003. But still, it’s a reminder that having everything on one smartphone is quite convenient.)

“FF’03” dumps the idea of an overbooked athlete and homemaker and instead goes with the reliably shopworn contrivance of two can’t-miss events being scheduled at the same time: the wedding reception, where Anna is expected to support her mom, and a band tryout, where Pink Slip is helpless without guitar shredder Anna.

The way the grand finale plays out is more grounded and more emotional – highlighted by a great reception speech by Curtis (as Anna in Tess’ body) that nicely illustrates the body-switch themes we’ve come to expect, wherein conflicts are smoothed over due to this magical dose of instant empathy. A viewer feels good coming out of this comedy, whereas we might’ve been a bit exhausted after the original.

Turning on the switch again

Despite Ellen and Annabel re-appearing in the 1984 sequels and the 1995 remake, Harris and Foster never reprised their roles; other actress pairs took over. In “Freakier Friday,” Curtis and Lohan will return to Tess and Anna. Perhaps just in time: We could use a freaky funny, good-hearted comedy.

“Freaky Friday” (1976): 3 stars

“Freaky Friday” (2003): 4 stars