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I first came across The Housemaid when a friend of mine was reading it on holiday this year. With some idle curiosity I picked it up and read the blurb, then paused, turned to her and with surprise and enthusiastic over emphasis, exclaimed ‘this sounds amazing’. Laughing, she confirmed that yes, it was. I did start it myself but didn’t finish because the Summer ended and that’s the only time I read books. Besides I learnt there was a film adaptation coming out. 

Of course, when I said it sounded amazing what I meant is that it seemed like it would be the most incredibly schlocky trash and that getting into it would mean a joyous acceptance of trashy plotting and deliciously over wrought human drama. My friend knew that and she knew what she was agreeing. We may not have both been reading it at the time but were definitely on the same page.

Having gone through about a third of the book and now the whole movie, I can tell you that I was right; this is exactly what The Housemaid is and it is quite wonderful. I absolutely enjoyed it as much, if not more, than I hoped back on that lazy day in July.

There’s quite a fine line to walk with this. The remake of The Hand That Rocks the Cradle that came out early last month didn’t quite get the balance right, trying I suspect to be taken seriously. This movie better understands what it is though and has a great time laying out its OTT characters and story. I’m not entirely sure Freida McFadden, the author of the source material, was in on the joke but director Paul Feig and his cast most certainly are. 

I’m not a great fan of Feig but I definitely think he has found his groove with this. Better known for out and out comedies, he did a similar thing to this with 2018’s A Simple Favour and sure enough that is his best film up until now. Having failed to repeat the trick with Another Simple Favour earlier this year, where he again tried to and mostly failed to be funny, he has made better choices here, just letting the ridiculousness of the whole narrative play out without forcing it. 

The Housemaid is essentially a three hander but really it belongs to Sydney Sweeney and Amanda Seyfried. Both actors are great. Sweeney is the ostensible lead but Seyfried steals the movie away from her with her cool histrionics in every scene they are in. Then at the end Sweeney gets to have her own moment and excels just as much. There is one particular conversation in the third act with Sweeney’s Millie standing on one side of a closed door where her level of righteousness coldness is an absolute delight. I don’t want to say more for fear of spoiling the twist but you’ll know it when you see it. I say twist but while I couldn’t have told you where this was going it didn’t feel like a great surprise because you know this is going somewhere bonkers. It doesn’t really make a lick on sense if you think about it but it is so much fun, and everyone is so committed to it that you won’t care. 

There is a second book and the film is set up for a sequel but I hope this stays a stand alone. The last scene promises barmy opportunities to come but they should quit here; it is perfect as it is. Clumsily feminist, casually extreme, highly entertaining, occasionally sexy and totally stupid but absolutely perfect. 

I must ask my friend what she’s reading next.