Freaky Friday started as a novel written by Mary Rodgers, based on Vice Versa: A Lesson to Fathers by F. Anstey, a story in which the protagonists are father and son. In Rodgers’ book, 13-year-old Annabel Andrews and her mother spend time in each other’s bodies. The novel was so popular that Disney as made it four times an Rodgers also mae several sequels herself, such as A Billion for Boris/ESPTV and Summer Switch (which ABC made into TV movies). The major difference between the novel and the films is that an outside influence switches the mother and daughter against their wills.
Freaky Friday (1976): “I wish I could switch places with her for just one day.” That’s all it takes to start off this crazy adventure for Ellen Harris (Barbara Harris) and her daughter Annabel (Jodie Foster).
Based on the 1972 novel by Mary Rodgers — who also wrote the screenplay — the magic that switches the mother and daughter in this movie is quite simple. In Friday the 13th, all you have to do is say, “I wish I could switch places with her for just one day” and it happens.
Actually, this whole thing reminds me of Goofy Minds the House, a 1977 Disney Wonderful World of Reading storybook that features the character Goofy and his wife switching jobs for one day and learning that they both have rough lives. That story was based on a Norwegian folktale and taught me that women were much stronger than men. Also — Goofy once had a wife named Mrs. Geef and Mrs. Goof, but now he’s thought to be dating Clarabelle the Cow, so something happened at some point. Perhaps even odder, Goofy was once called Dippy Dawg.
But I digress.
Just as much as that story is part of my childhood, so is Freaky Friday, a movie that I know for a fact that I saw at the Spotlite 88 Drive-In in Beaver Falls, PA.
Ellen Andrews and her daughter Annabel are constantly battling with one another until they switch places, which enables each of them to see life from the other side, connect better with other people and, of course, water ski.
The cast of this movie is made up of people that a five year old me would see as big stars, like John Astin, Dick Can Patten, Charlene Tilton, Marc McClure and, of course, Boss Hogg. Strangely enough, George Lucas wanted Foster for the role of Princess Leia, but her mother wanted her to complete her contract to Disney.
Disney can’t seem to stop remaking this movie. And really, no one else can either, because it’s the mother of body switch comedies, including 18 Again!, All of Me, Dream a Little Dream, Vice Versa and Freaky, a film which combines the Friday the 13th of this story with the slasher side of the holiday.
Freaky Friday (1995): This made-for-TV movie has Shelly Long as Ellen and Gaby Hoffman (the daughter of Warhol superstar Viva) as Annabelle. A pair of magical amulets causes the two of them to switch bodies in this version and waterskiing has been replaced with diving.
Ellen is also a single mother dating Bill (Alan Rosenberg) and designing clothing, which is the 90s version of being a housewife. What livens this up is a great cast with Drew Carey, Sandra Bernhard, Carol Kane and the much-missed Taylor Negron.
Writer Stu Krieger wrote The Parent Trap II, A Troll in Central Park, Zenon: Girlof the 21st Century and Phantom of the Megaplex while director Melanie Mayron is probably best known for playing Melissa Steadman on Thirtysomething even though she has more than sixty directing credits on her resume.
The other big change is that when Annabelle is in Ellen’s body, she tells Bill exactly how much she dislikes him, thinking it will push him away. Instead, he proposes.
Forgive me for being weird, but…do these characters ever have to make love in these bodies? Because, well, that could be awkward.
Freaky Friday (2003): I spoke too soon about the sexual side of Freaky Friday, as this movie, while chaste, does not shy away from the fact that Jake (Chad Michael Murray) has feelings for Anna (Lindsay Lohan) no matter if she’s in her body or the body of her mother, Tess (Jamie Lee Curtis). The attraction that Jake feels, while mental, is way hotter than the way Marc McClure reacted to Barbara Harris.
Written by Heather Hach (Legally Blonde: The Musical, What To Expect When You’re Expecting and a gym teacher in this movie) and Leslie Dixon (Overboard, Loverboy, the 2007 Hairspray) and directed by Mark Walters (who worked with Dixon again on Just Like Heaven; he also directed Mean Girls, Ghosts of Girlfriends Past, the gender-swapped He’s All That and Mr. Popper’s Penguins), this take on the story retains the single mother idea from the 1995 TV movie and has Mark Harmon play Ryan, the potential new father in Anna’s life.
Lohan’s character was originally written as a goth girl and she didn’t think anyone would relate to that, so she showed up dressed like a preppie. Somehow, she was convinced to play a grunge girl instead. I mean, she has a band called Pink Slip and plays guitar instead of water skiing or driving.
The McGuffin that drives this film is a pair of fortune cookies mixed with an earthquake switches bodies for Anna and Tess, which leads to Anna lecturing teachers and Tess being more loud and wild.
As for the casting, it really works. The original idea was for Jodie Foster to play Tess, but she didn’t like the stunt casting. Then, Annette Bening and Kelly Osbourne were going to be the leads — with Tom Selleck as Ryan — but Bening dropped out and Osbourne’s mother got cancer.
Probably the only downside is that this movie falls back on that Hollywood cliche of Asian people being able to magically change lives.
Is it weird that I know that the band Orgy taught Jamie Lee how to play guitar? Why do I have these facts inside my head? And how weird is it to hear “Flight Test” by the Flaming Lips in a Disney movie? Or Joey Ramone covering “What A Wonderful World?”
Freaky Friday (2018): It’s wild that Steve Carr made Next Friday and a Freaky Friday sequel. And this time, I had no idea I was getting into a musical. Cozi Zuehlsdorff from the Dolphin Tale movies is Ellie Blake and her mother Katherine is played by Heidi Blickenstaff, who played the role on stage. Seriously, this is a full-blown bing singing musical and also a version of the story that leans in on Ellie being a total slob with a filthy room, a girl who always wears the same clothes every day and who would totally be the kind of arty disaffected young girl who I’d be too shy to talk to and leave mixtapes in her locker. Or maybe text her Spotify links now, I guess, right?
A magical hourglass — given to Ellie by her late father, a Freaky Friday story beat retained from the last few versions — is the storytelling device that switches the daughter and mother. There’s also a scavenger hunt that an entire school is absolutely obsessed by, making this also an updating of Midnight Madness.
This was the first Disney movie made from one of their stage plays and it didn’t get great ratings. It’s fine — obviously there are a ton of different versions of Freaky Friday for you to watch. I’d place it slightly ahead of the Shelley Long version, but way behind everything else.
Freaky (2020): By all rights, I should hate this movie, a semi-remake of Freaky Friday that instead subverts the source material by turning it into a slasher. But you know, it ended up hitting me the right way and I was behind it pretty much all the way.
Directed by Christopher Beau Landon — yes, the son of Michael — who wrote Disturbia — that’s not even a word — and several of the Paranormal Activitymovies before directing the Happy Death Day films. If you liked those, well, this will definitely give you more of what those movies offered, this is set in the same universe — Landon said that, “They definitely share the same DNA and there’s a good chance Millie and Tree will bump into each other someday” — and was originally titled Freaky Friday the 13th.
Millie Kessler (Kathryn Newton, Big Little Lies) is a teenager who has been tormented by bullies, both of the teenager and teacher* varieties. Meanwhile, the urban legend of the Blissfield Butcher continues, as he keeps killing her classmates. Now that he possesses a McGuffin called La Dola — an ancient Mayan sacrificial dagger — he looks to gain even more power. But when he runs into our heroine — her mother (Katie Finneran, who is great in this) has left her behind at a football game where all she gets to do is wear a beaver mascot costume — she battles the Butcher and when he stabs her, they end up switching bodies.
So yeah — this turns into a body swap comedy and you’d think, after the gory as hell open, this is where they lose you. But no — if anything, this gets way more fun.
Millie’s friends make for some of the best scenes in the film. Nyla (Celeste O’Connor) and Josh (Misha Osherovich) have been with her through the worst parts of high school, so having their best friend in the body of a killing machine is just another trial to be endured.
Speaking of that killer, Vince Vaughn shines in this. There’s plenty of silly physical comedy, but also some really nice scenes like when he admits to the love interest that she left the note he treasures (body swap pronouns are a little hard) or when he has a moment with her mother while hiding in a changing room.
Landon — who wrote the movie along with Michael Kennedy — said that the film was influenced by the Scream series, along with Cherry Falls, Fright Night, Jennifer’s Body, The Blob and Urban Legend. There’s also a fair bit of Halloween in here, particularly the opening series of murders, and references to Heathers, Child’s Play, Creepshow, Galaxy Quest, Carrie, The Faculty, The Craft and Supernatural. There’s also a bottle down the throat kill that came directly from the 2009 slasher remake Sorority Row.
I had fun with this. Here’s hoping you do the same.
*The funny thing is that the teacher that is the worst to her is Alan Ruck, who knows a thing about bring bullied, what with playing Cameron in Ferris Bueller’s Day Off.
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