Few movie remakes can be said to be better than the original. The 1998 Parent Trap is one of those rare exceptions. While the 1961 version is a classic story, it looks very much like a movie from its time, giving Disney license to make a more contemporary version. Here's the tale of the tape...
The premise: 1961: Susan is from California; Sharon is from Boston. The two take an instant dislike to each other when each has "the nerve" to wear each other's face. 1998: Hallie is from California; Annie is from London. Their faces are hidden in a friendly fencing contest, though it turns ugly when both Annie's touche lands Hallie over a railing and into a large water bucket. Annie tries to help her out, but Hallie pulls her in. The disdain starts seconds before they even see each other's faces. A little more believable.
The realization: 1961: Still not getting along in the isolation cabin, one yells at the other over the theory that they indeed are sisters, even though the evidence overwhelmingly proves it. No comments after the "I'm sorry" hug. 1998: Far more warm and fuzzy -- without crossing the sappy line -- in the isolation cabin. After finding common ground in Oreos and peanut butter, the two become weepy and astonished after repairing a ripped photo of their parents. Shot very well.
Sign of the times: 1961: Not only do the twins slap each other before the realization, but the father's fiancee also slaps one of the twins. No way you'd see the latter today. 1998: Mother and daughter both agree the arrangement "sucks." No way you'd see that in 1961, nor the 11-year-old girlish "Oh my God"s from Hallie. (I can't think of any other reason why this got a PG and not a G rating.)
Music: 1961: Musical numbers that were part of 1960s Disney. 1998: Short, quick music videos that are accepted in a lot of movies.
The performances are pretty much a dead heat, and hard to compare considering the times. However, there are differences.
The parents: 1961: The characters of Maureen O'Hara and Brian Keith (Maggie and Mitch) seem more jaded and angry, both at each other and themselves for unnecessarily throwing something away. 1998: The characters of Natasha Richardson and Dennis Quaid (Elizabeth and Nick) had simply moved on, and had difficulty remembering what broke them up. There was little evidence of any bad blood, though Elizabeth was too reluctant to believe in their love.
The fiancee: 1961: Joanna Barnes as Vicky was a young and attractive shrew. 1998: Elaine Hendrix as Meredith was a young, beautiful, sexy, manipulative, and two-faced. It took more time to root against her. (Nice touch with Barnes as Meredith's mother.)
The twins: 1961: There's a good reason why the cute blonde was working steadily for many years after The Parent Trap. Hayley Mills had the two characters down to a T, and that Pollyanna quality from her previous film still comes through. That's what Disney wanted in the 1960s. 1998: All the more reason we'll be seeing a lot of Lindsay Lohan. In her movie debut, the auburn-haired, freckle-faced newcomer nailed two characters and two accents, and added some comic touches to her roles. You could see a little more range in Lohan's portrayals. As believable as this story could possibly be, Lohan's performance is the glue to this movie.
The premise: 1961: Susan is from California; Sharon is from Boston. The two take an instant dislike to each other when each has "the nerve" to wear each other's face. 1998: Hallie is from California; Annie is from London. Their faces are hidden in a friendly fencing contest, though it turns ugly when both Annie's touche lands Hallie over a railing and into a large water bucket. Annie tries to help her out, but Hallie pulls her in. The disdain starts seconds before they even see each other's faces. A little more believable.
The realization: 1961: Still not getting along in the isolation cabin, one yells at the other over the theory that they indeed are sisters, even though the evidence overwhelmingly proves it. No comments after the "I'm sorry" hug. 1998: Far more warm and fuzzy -- without crossing the sappy line -- in the isolation cabin. After finding common ground in Oreos and peanut butter, the two become weepy and astonished after repairing a ripped photo of their parents. Shot very well.
Sign of the times: 1961: Not only do the twins slap each other before the realization, but the father's fiancee also slaps one of the twins. No way you'd see the latter today. 1998: Mother and daughter both agree the arrangement "sucks." No way you'd see that in 1961, nor the 11-year-old girlish "Oh my God"s from Hallie. (I can't think of any other reason why this got a PG and not a G rating.)
Music: 1961: Musical numbers that were part of 1960s Disney. 1998: Short, quick music videos that are accepted in a lot of movies.
The performances are pretty much a dead heat, and hard to compare considering the times. However, there are differences.
The parents: 1961: The characters of Maureen O'Hara and Brian Keith (Maggie and Mitch) seem more jaded and angry, both at each other and themselves for unnecessarily throwing something away. 1998: The characters of Natasha Richardson and Dennis Quaid (Elizabeth and Nick) had simply moved on, and had difficulty remembering what broke them up. There was little evidence of any bad blood, though Elizabeth was too reluctant to believe in their love.
The fiancee: 1961: Joanna Barnes as Vicky was a young and attractive shrew. 1998: Elaine Hendrix as Meredith was a young, beautiful, sexy, manipulative, and two-faced. It took more time to root against her. (Nice touch with Barnes as Meredith's mother.)
The twins: 1961: There's a good reason why the cute blonde was working steadily for many years after The Parent Trap. Hayley Mills had the two characters down to a T, and that Pollyanna quality from her previous film still comes through. That's what Disney wanted in the 1960s. 1998: All the more reason we'll be seeing a lot of Lindsay Lohan. In her movie debut, the auburn-haired, freckle-faced newcomer nailed two characters and two accents, and added some comic touches to her roles. You could see a little more range in Lohan's portrayals. As believable as this story could possibly be, Lohan's performance is the glue to this movie.