Die, Mommie, Die!

Die, Mommie, Die! is a 2003 American satirical comedy film directed by Mark Rucker and written by Charles Busch, who is also the star of the film. Co-starring Natasha Lyonne and Jason Priestley, the film delivers a sensational rollercoaster of emotions, humor, and surprising twists against a 1960s Hollywood backdrop.

In Die, Mommie, Die!, Charles Busch plays the role of Angela Arden, a washed-up singer-actress who marries for convenience, not love. Angela is no longer the starlet she once was, and her fading beauty and talent mirror her failed career. Living in the shadows of her past, she is seemingly trapped within the confines of a loveless marriage to movie producer Sol Sussman (played by Philip Baker Hall).

Angela desperately yearns to recapture her lost youth and dreams of a comeback in her career. However, her domineering husband, Sol, has other plans, intending to keep Angela under his control. He refuses to grant her a divorce or let her pursue a love interest she has. Their marriage, laden with deception and manipulation, forms the basis of the plot.

Furthermore, Angela resorts to an affair with Tony Parker (played by Jason Priestley), a younger man and opportunistic tennis pro. Tony's character brings an infusion of sensuality and intrigue to the storyline. The affair becomes a lever for Angela as she seeks to regain control of her life.

Complementing the central narrative are Angela’s two children, played by Natasha Lyonne and Stark Sands. Edith (Lyonne) is suspicious of her mother, convinced she is hiding something sinister beneath her outwardly glamourous persona. Lance (Sands), a "mama's boy," has his own complexities, including a contentious relationship with his father.

Die, Mommie, Die! provides a multi-layered storyline that showcases the family's dysfunctions and secrets. It captures a satirical view of the Golden Age of Hollywood, complete with the vintage aesthetics of the era. The film offers a blend of dark humor, psychological tension, and terrific performances.

The film is a showcase for Busch's comedic skills and knack for portraying female characters in a mockery of 1960s melodramas. Known for his cross-dressing roles, Busch delivers a stellar performance as Angela, capturing a mix of vulnerability and manipulation that defines her character. Angela is a woman trapped in her past, facing a gloomy future, but Busch's portrayal gives her a depth that is intriguing and magnetic.

The script is packed with outrageous and funny dialogue, complementing the over-the-top performances perfectly. The film features elaborate costumes and set designs that mimic the lavish Hollywood productions of the 1960s, adding to the authenticity of the period setting.

Natasha Lyonne and Jason Priestley handle their roles convincingly, showing remarkable range, especially Lyonne, who goes from suspicious daughter to distraught observer. Stark Sands and Philip Baker Hall also provide solid performances, representing different aspects of Angela’s strained familial relations.

At its core, Die, Mommie, Die! is a clever parody of thriller and noir genres, packed with a series of unexpected twists and turns. A particularly note-worthy aspect of the film is the fine balance it maintains between the grotesque and the comedic, brilliantly hitting the high notes of both these genres. Its melodramatic plotlines, amusing dialogue, and dedicated performances make it an interesting watch for viewers seeking an off-beat and witty cinematic experience.

Director Mark Rucker seamlessly executes Busch's screenplay, ensuring the narrative's satirical elements come to the fore without overshadowing the drama of the family’s affairs. He uses a vibrant color palette that lends itself well to the extravagance and decadence of the 1960s Hollywood scene.

Overall, Die, Mommie, Die! offers a unique blend of comedy, mystery, and drama that keeps the audience entertained. It's a fun exercise in genre-bending and pays homage to the grandeur and glamour of classic Hollywood while giving a new dimension to the comedy genre. It's a film that stands as a testament to Charles Busch's talent and the possibilities of narrative cinema when traditional boundaries are expanded.