Walt Disney Productions' Freaky Friday is an early example of the 'body swap' comedy, popularised in the late 1980s by movies such as Big (Penny Marshall, 1988) and Vice Versa (Brian Gilbert, 1988).
With a screenplay by Mary Rodgers, based upon her best selling novel, Freaky Friday tells the story of frustrated housewife Ellen Andrews (Barbara Harris) and her daughter Annabel (Jodie Foster). Following an argument on the morning of Friday the 13th the pair wish to change places, both believing the other has the more desirable life. Magically their wish is granted. Mom has to try to make it through a school day, while daughter deals with the pressures of housework. Comedy high jinks ensue.
While its concept no longer seems original, Freaky Friday is still a fairly fresh and funny movie. This is largely due to the excellent performances from its leads. Jodie Foster is terrific as the 35 year old mind in the body of a 13 year old, but the real revelation is Barbara Harris. Playing baseball with a team of 8 year olds, flirting with a teenage neighbour, having a meltdown over household chores; Harris perfectly captures the manic mind of 13 year old let loose in the body of a grown woman, proving herself an adept comedy actress in a fairly demanding physical role. Solid support from John Astin as bemused husband/father Bill Andrews, Sparky Marcus as Annabel’s brother ‘Ape Face’, Marc McClure as neighbourhood crush Boris and Patsy Kelly as the Andrew’s boozy housekeeper round out an appealing principle cast.
For the most part director Gary Nelson avoids the formulaic, cookie-cutter approach associated with Disney comedy movies of the era, thanks to Mary Rodger's superior script which stays close to the spirit of her book. Although, regrettably, a genuinely funny climax in which Annabel telephones the police to report her missing mother and daughter is replaced by a more cinematic but less amusing car chase. The movie occasionally veers a little too far into slapstick but most of it works and there are more big laughs than not. The mother/daughter relationship at the movie’s core is completely believable, through the misunderstandings to the inevitable reconciliation. The denouncement is nicely handled, not too sentimental and quite touching.
Fans of the decade will pleased that the movie is full of beautiful 1970s decor with a plethora of pantaloons and paisley ties also on display. Also worth noting is Joel Hirschhorn and Al Kasha hummable theme song I'd Like To Be You For a Day* which leaves my head practically never!
Freaky Friday was a rare critical and commercial hit for Disney in the latter half of the 70s and has proved a perennial property for them. Remade for TV in 1995 and for cinemas in 2003. It was adapted into a stage musical in 2016 which was subsequently filmed for The Disney Channel in 2018. Interestingly, Disney never attempted to film either of Rodger's published sequels although one, A Billion for Boris (Alex Grasshoff, 1984) did make it the screen courtesy of Comworld Pictures.
Freaky Friday was a boyhood favourite which has lost none of its appeal. I generally revisit this movie once or twice a year. It’s a good natured romp, with plenty of big laughs and let's be honest, who among us hasn't wondered what it would be like to switch places with Jodie Foster?
*Check out Merrill Osmond’s excellent cover of I’d Like To Be You For a Day on YouTube: https://youtu.be/D3wa-S9LoSg
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