Greg, let’s not go overboard in our praise for this movie, okay?
I have to admit, I was not over bored by how much better this remake was than the original. Let’s recap…
We meet Kate (Anna Faris), a woman studying to become a nurse while also holding down two jobs to feed her family. One day, while cleaning the carpets aboard a yacht, Kate runs into the playboy owner of the yacht, Leonardo (Eugenio Derbez). He insults her and literally throws her overboard, along with her equipment which she must now pay for.
Leonardo doesn’t waste much time getting wasted and falls overboard his yacht. He ends up in the hospital with amnesia. His sister Theresa (Eva Longoria) wants to take over the family business and having Leonardo out of the way makes that easy. So, she leaves him there. Meanwhile, Kate sees Leo’s picture on the news and hatches a plan to make him pay her back by serving as her husband and father to her three children while she studies for her nursing degree.
On the surface, Overboard is a lightweight throwaway comedy, with a far-fetched plot, stock characters we’ve seen a million times before, and a predictable, saccharin ending. Yet from a hero’s journey perspective, this movie is pure gold. Our romantic hero duo of Leo and Kate are both thrust into a new world of a faux marriage that transforms them both, especially Leo. His riches-to-rags change in setting produces a total personality makeover, transforming him from a spoiled jerk to a humbled, loving husband and father. This discovery of the true self as a result of the journey is the hallmark feature of any good hero’s tale.
When Leo returns to his rich lifestyle, he is now “Master of Both Worlds”, a man who knows wealth but who can also thrive in impoverished circumstances. While experiencing poverty, Leo transformed into a humble, devoted family man, and once transformed our hero cannot become untransformed. His faux marriage allowed him to find his “true self” who, in the terminology of Joseph Campbell, has found his bliss and emerges as a man who is in union with all the world.
Great analysis of the hero in this story, Scott. Overboard is an unlikely Hollywood comedy remade from the Goldie Hawn 1984 original. I thought this version did a great job of paving over the plot holes in the original. The production values, acting, and writing were also much better. As ridiculous as I found the plot, watching Leo commiserate with his fellow workmates was hilarious. (At one point he says, “I feel like this is not my life. Like I was destined for more. And I haven’t had sex in months.” To which his hard-working, married, and low-wages compatriots reply – “Yup. Me too.”)
While this is very much Leo’s story of redemption, Anna Faris’s depiction of Kate as a hard-working, earnest, but still wide-eyed naive single mom delivers the goods. Faris is known for her screwball comedies. But here she gives us a warm, harried, flawed, but genuinely likeable character. Regardless of whether we agree with what she’s done, we agree with her motivations.
Overboard is a silly, far-fetched story that we’ve seen in various forms many times before in storytelling. Despite the tale’s predictability, Overboard manages to touch our hearts by depicting a man’s arduous journey toward becoming his best self. The method by which this transformation occurs is heavy-handed and disturbing in a Beauty and the Beast kind of way. If you’re willing to overlook kidnapping and abuse as a means of helping someone change, this movie is for you. I give Overboard a rating of 3 Reels out of 5.
As mentioned earlier, the hero’s journey is almost textbook, with Leo’s accident on the boat propelling him (pardon the pun) onto his journey toward self-realization. His transformation is aided by the group of construction workers with whom he works, and also by Kate’s three kids who manage to squirm their way into Leo’s heart. Leo’s amnesia and subsequent self-discovery are wonderful exemplars of timeless tales of unknown hero identities becoming fully known in their richness and connectedness with the world. I give the heroes a rating of 3 Hero points out of 5.
Regarding archetypes, we have a clear example of psychologist Paul Moxnes’ family unit archetype consisting of Leo’s father (the patriarchal king), his evil sister (the dark princess), and his good sister. There is also the archetypal idea of the hero’s obliviousness about his true identity and his undergoing suffering to discover his authentic self. Then we have a very problematic archetype (which I’ll call a “darketype”), seen before in Beauty and the Beast, involving the idea of kidnapping someone long enough for them to fall in love with their kidnappers. Why this “darketype” exists really baffles me. These archetypes merit a score of 3 Arcs out of 5.
Overboard is a lot of fun and Derbez and Faris make it work. I had fun the whole time. Everyone likes to see the rich and powerful taken down a peg, and Leo definitely has his day. The “amnesia” trope is impossible to believe, but if you can swallow that, the rest plays out in a very fun way. And if you can get over Leo’s “Stockholm Syndrome” – falling in love with Kate – then you’ll have fun, too. I give Overboard 3 out of 5 Reels.
Yes, this is a redemptive story for Leo. It’s possible only because Leo has selective memory about what he is entitled to as a rich man and gaps about being married. He also doesn’t seem to question the fact that virtually nothing in the house belongs to him. But we like to see our flawed hero become a better man. So I give Leo 3 out of 5 Heroes.
Finally, you’ve covered the archetypes very well. As you said, we have the Moxnes’ family unit with Leo as father, Kate as mother, and the children in play. And it’s the fulfillment of this family structure that completes Leo as a FATHER and HUSBAND. I give these archetypes 3 out of 5 Arcs.