"The Handmaid's Tale" (1990)

It's a rare book that is improved in its transfer from printed page to silver screen and unfortunately Margaret Atwood's acclaimed "The Handmaid's Tale" is not one of them. Harold Pinter's adaptation has its powerful moments, but ultimately the narrowing of the novel's scope dilutes the story's message too much.

Before blame is laid entirely on the filmmakers, however, some consideration should be given to recent history. In 1982, when Atwood's novel was published, her vision of a future society dominated by repressive right-wing born-again Christians with perverted ideas of Biblical teachings seemed chillingly possible. But eight years later, with Jerry Falwell's Moral Majority just a distant memory and the televangelists running for cover, it no longer has the same scare power. Although "The Handmaid's Tale" conjures up several unnerving images, including a downright terrifying execution sequence, the film seems more like science-fiction than a believable vision of the future.

Not helping in the credibility department is the casting of America's high priestesses of camp cinema, Faye ("Mommie Dearest") Dunaway and Victoria ("Flowers in the Attic") Tennant in key villainous roles. Also miscast is Natasha Richardson, a bright actress who doesn't quite fit the lead role of Kate, the fertile young woman coerced by the government into becoming a baby factory. Only Elizabeth McGovern, surprisingly effective in a brief role as Kate's spirited friend Moira, scores. The men have better luck, with Robert Duvall adding unique shades to what could have been a drab walk-through as The Commander, Kate's boss, and Aidan Quinn appropriately alluring as Kate's illicit lover.