Alright, fellow tapeheads, let’s rewind to 1992. Slide that slightly worn Housesitter cassette into the VCR, maybe nudge the tracking just so, and settle in. Remember this one? It wasn’t a world-shaker, perhaps, but finding this gem on the New Releases shelf at Blockbuster felt like striking pure comedy gold. It arrived boasting a premise so delightfully absurd, carried by two absolute titans of screen comedy, that it felt like an instant comfort watch – a feeling that, remarkably, holds up even today.
The core idea is pure, high-concept wish-fulfillment twisted into knots of deception: Architect Newton Davis (Steve Martin), heartbroken after his proposal to lifelong crush Becky (Dana Delany) is rejected, leaves the dream house he built for her standing empty. A chance encounter (and one-night stand) with Gwen (Goldie Hawn), a free-spirited waitress with a fluid relationship with the truth, changes everything. When Newton leaves town, Gwen takes it upon herself to move into his beautiful, vacant house, charming his parents, baffling his neighbours, and completely fabricating a history – and marriage – with the bewildered architect upon his return.
The Ultimate Con, Built on Charm
What makes Housesitter click isn't just the audaciousness of the setup, penned by Mark Stein (with Brian Grazer producing), but the sheer force-of-nature performance from Goldie Hawn. Gwen isn't malicious; she's a whirlwind improviser, weaving elaborate, often contradictory tales with such wide-eyed conviction you almost believe her yourself. She decorates the stark modern house Newton built (a real structure actually constructed for the film in Concord, Massachusetts!) with exuberant, clashing colours and bizarre knick-knacks, turning his monument to lost love into a chaotic, lived-in space almost overnight. Watching her effortlessly spin lies to Newton's parents (the wonderfully befuddled Donald Moffat and Julie Harris) and the increasingly confused townsfolk is where the film finds its manic energy.
And then there's Steve Martin. Fresh off hits like Father of the Bride (1991), he's in prime exasperated straight-man mode here. Newton Davis is wound tight, principled, and utterly flabbergasted by the situation Gwen has created. Yet, as her elaborate fiction starts yielding unexpected benefits – impressing his boss, making Becky jealous – he finds himself reluctantly playing along. The dynamic between Martin's controlled panic and Hawn's effervescent fibbing is electric. It’s fascinating to think Meg Ryan was apparently considered for Gwen’s role; while a fine actress, it's hard to imagine anyone capturing that specific blend of cunning and infectious charm quite like Hawn.
Frank Oz’s Polished Touch
Directing this comedic dance is Frank Oz, a maestro who knew a thing or two about bringing unique characters to life, whether puppets (The Muppet Show, Sesame Street) or people. Having already directed Steve Martin brilliantly in Dirty Rotten Scoundrels (1988), Oz brings a similar sense of polished timing and controlled chaos to Housesitter. The film looks great, capturing the picturesque (and slightly nosy) New England town setting perfectly. Oz lets his leads shine, understanding that the comedy comes less from slapstick and more from the increasingly tangled web of lies and the actors' reactions navigating it. He knows exactly when to let a moment of awkward silence hang or when to cut quickly to maximize a comedic beat. The light, jazzy score by Miles Goodman further enhances the breezy, sophisticated screwball feel.
More Than Just Laughs?
While Housesitter is primarily a lighthearted romantic comedy, it subtly plays with ideas of identity and the stories we tell ourselves (and others). Gwen literally invents a more exciting life, and in doing so, inadvertently forces Newton to confront what he really wants versus the idealized picture he’d clung to for so long. Dana Delany does a commendable job as Becky, avoiding caricature and making her a believable, albeit slightly conventional, counterpoint to Gwen's wild energy.
The film wasn't a monster smash, pulling in a respectable $94.9 million worldwide against its $26 million budget, but it found a solid, enduring life on home video. It felt like the perfect Friday night rental – funny, charming, with movie stars doing what they do best. It’s a quintessential early 90s studio comedy: well-made, star-driven, and built on a clever premise.
Rating: 8/10
This score reflects the film's undeniable charm, the powerhouse comedic pairing of Martin and Hawn at their peak, and Oz's assured direction. It doesn't reinvent the wheel, and the premise requires a hefty suspension of disbelief, but it executes its concept with wit and warmth. The supporting cast is uniformly excellent, and the script keeps the escalating lies funny rather than frustrating. It earns its laughs honestly through character and situation.
Housesitter remains a delightful example of what happened when two perfectly matched stars collided under the guidance of a skilled comedic director. It’s a reminder of a time when high-concept romantic comedies could be both genuinely funny and effortlessly charming, a quality that feels just as welcoming now as it did flickering on that CRT screen back in the day. Press play; you’ll likely find the welcome mat is still out.