Okay, fellow tape travellers, let's rewind to a time when fairy godmothers didn't just grant wishes for balls and princes – sometimes, they handed out life lessons with a side of cosmic tough love. Slide that worn copy of Maid to Order (1987) into the VCR, adjust the tracking just so, and let’s talk about this charming slice of 80s fantasy-comedy that landed squarely in Ally Sheedy’s post-Brat Pack era. Forget grand CGI transformations; this was the era of sassy attitudes, big hair, and learning responsibility the hard way... with a sprinkle of magic dust.
### From Penthouse to Pantry
The setup is pure 80s gold: Jessie Montgomery (Ally Sheedy) is the dictionary definition of a spoiled L.A. party girl. Rich daddy, fast cars, zero accountability, and an attitude that could curdle milk. After a particularly bratty blowout, her exasperated father wishes she’d never been born. Cue Stella (Beverly D'Angelo, radiating mischievous charm), a chain-smoking, decidedly un-Disney fairy godmother who grants the wish... sort of. Jessie isn't erased, but her identity, wealth, and connections are. Suddenly penniless and anonymous, she finds the only work she can get is, you guessed it, being a maid in a wealthy household. It’s a classic fish-out-of-water premise, ripe for comedic humbling.
Remember how Ally Sheedy was coming off massive hits like The Breakfast Club (1985) and St. Elmo's Fire (1985)? This felt like a deliberate shift, an attempt to showcase her comedic range beyond teen angst. And while Jessie starts off almost cartoonishly awful, Sheedy throws herself into the role, making the eventual thawing feel earned, even if the journey is predictable.
### scrubbing Floors and finding Soul
The heart of the movie lies in Jessie's reluctant integration into the world of domestic service. Thrust into the employ of a nouveau riche couple (played with enjoyable broadness by Valerie Perrine and Dick Shawn), she has to navigate grumpy chefs, demanding employers, and the camaraderie of her fellow maids, led by the warm and wise Audra (Merry Clayton). It’s here the film finds its groove. The comedy isn't always subtle – Jessie flooding kitchens, setting off alarms – but there’s a genuine warmth to the interactions between the staff. It touches lightly on class differences, though never delves too deep, preferring gentle laughs over sharp satire.
Let's talk about Beverly D'Angelo as Stella. She doesn't get a huge amount of screen time, but she steals every scene she's in. Forget shimmering gowns; her Stella is world-weary, stylishly cynical, and delivers her magical interventions with a shrug and a puff of smoke. It's a performance that hints at a much more interesting backstory than the film has time for. Reportedly, Amy Holden Jones, who both wrote (with Perry Howze and Randy Howze) and directed, was looking for someone who could bring edge and humor to the archetype, and D'Angelo nails it. Jones herself was on a roll, having written the script for the soon-to-be classic Mystic Pizza (1988) around the same time she directed this. You can see a similar focus on character relationships and finding heart in everyday situations, even amidst the fantasy.
### That 80s Sheen (and Budget)
Watching Maid to Order now is like opening a time capsule. The fashion! The synth-pop interludes! The sheer volume of the hair! It's all gloriously of its time. The fantasy elements are charmingly low-key – Stella's magic involves simple dissolves and practical gags rather than elaborate effects. This wasn't a mega-budget blockbuster (it cost around $7 million and grossed a respectable-but-not-huge $10.9 million), and that often worked in favor of these 80s comedies. They relied on character, premise, and performance rather than overwhelming spectacle. Remember how those simple magical effects still felt kind of cool on a fuzzy CRT?
The film also boasts a surprisingly lush score by the legendary French composer Georges Delerue, known for his work with François Truffaut. It lends a touch of unexpected class and sweetness to proceedings, elevating it slightly above standard comedy fare. And keep an eye out for Michael Ontkean (later of Twin Peaks fame) as Nick, the down-to-earth son of Jessie's employers who serves as the potential romantic interest. Their chemistry is sweet, if underdeveloped.
### Did The Wish Come True?
So, does Maid to Order hold up? It’s definitely a product of its era, complete with some predictable plotting and occasionally broad humor. Jessie’s transformation happens perhaps a bit too easily, and the social commentary is feather-light. But there's an undeniable charm here. Ally Sheedy is engaging as the lead, navigating the comedic and emotional beats effectively. The supporting cast, especially Beverly D'Angelo and Merry Clayton, add significant sparkle. It captures that specific brand of 80s high-concept comedy – slightly cheesy, ultimately good-hearted, and focused on a relatable (if magically induced) journey of self-discovery. It might not be a cinematic masterpiece, but it’s the kind of film that likely earned its keep through countless weekend VHS rentals. I distinctly remember seeing that cover art countless times at the local video store, promising exactly the kind of feel-good fantasy escape it delivers.
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VHS Heaven Rating: 6.5/10
Justification: The film earns points for its charming premise, Ally Sheedy's committed performance, Beverly D'Angelo's scene-stealing turn, and its overall warm, nostalgic 80s vibe. It loses a few points for predictable plotting, underdeveloped side characters, and humor that sometimes feels dated. It’s a pleasant, if unremarkable, entry in the 80s fantasy-comedy canon.
Final Take: A cosmic cautionary tale served with 80s synth and a side of sass – Maid to Order won't change your life, but like finding a beloved mixtape, it's a comforting, enjoyable trip back to simpler times (and much bigger shoulder pads). Perfect for a nostalgic night in when you just want something light and sweet.