Goldie & Meryl are "Perfection" in ‘Death Becomes Her’ 1992

Goldie Hawn & Meryl Streep: Best frenemies in 1992's satire "Death Becomes Her."

The particulars of plastic surgery and cosmetic enhancements had just become common knowledge when Death Becomes Her was released in 1992. Three decades of Internet and social media later, critiques of who’s had what done has become a 24/7 public pastime. Death Becomes Her took it one step further, adding a youth serum that is also the stuff of eternal life. The black comedy revolves around a dysfunctional romantic triangle, so comedic chaos ensues.

Meryl Streep's showbiz vixen vamps Bruce Willis' agog plastic surgeon, with
Goldie Hawn as his fiancée who looks on nervously, in 1992's "Death Becomes Her."

Death Becomes Her reminds me of 1987's The Witches of Eastwick, where another eternal topic (male/female relations) boasts a starry cast, but gets upstaged by special effects, with a summer action flick style finale. In Death Becomes Her, the effects still hold up very well and provide solid laughs. But it's the cast, situations, and some memorable lines that give this movie its eternal glow.

Two competing females/frenemies fight over a renowned plastic surgeon, nerdish Ernest Menville. Helen Sharp is the wannabe writer/fiancee who introduces her man to hack actress/narcissist Madeline Ashton. Guess what? Like Jolene, “Mad” takes Ernest away from “Hel,” just because she can.

Meryl Streep is a riot as hack actress Madeline Ashton in "Death Becomes Her."
Here, Ashton tries a musical version of Tennessee Williams' "Sweet Bird of Youth!"

We first meet the trio at Madeline’s musical version of Sweet Bird of Youth, called Songbird! This hooty homage to an era when classic movies were turned into cheesy musicals lets Meryl show off her musical and comedic chops. As audience members disgustedly leave, Ernest is enthralled. And Helen’s worried.

Goldie Hawn as Helen goes big when she loses her man to Meryl Streep's star in
 "Death Becomes Her." Comfort is canned frosting, kitties, and movies where
 Madeline Ashton dies!

Seven years later, Helen becomes an obese cat lady, nursing her grudge with frosting from a can. Helen watches Madeline in an old “woman in jeopardy” movie on TV, just so she can rewind the scene where Ashton gets strangled!

Goldie’s hilarious as delusional Helen, in group therapy, when she hesitates and then says, "I would like to talk about Madeline Ashton..." Then her group starts screaming in unison... I know people who inspire the same reaction!

 

Bruce Willis & Meryl Streep as the unhappy couple who see Goldie Hawn's writer
for the first time in 14 years, in "Death Becomes Her." 

Madeline is even more washed up and dissatisfied with her marriage, after she wore down Ernest from a brilliant plastic surgeon to drunken undertaker. It’s now another seven years later, the unhappy couple accepts an invite to Helen’s book signing party, who seemingly has worked through her issues. “Hel” is now a self-help author, slimmed down and sexed up, and she can lord it over “Mad,” who looks well past her sell-by date.

"Hel" looks hella fine now! Goldie Hawn in 1992's "Death Becomes Her."

After a humiliating trip to the beauty spa and her young beau, Madeline seeks out mysterious guru Lisle, from a tip at the spa. I love the scene that is a comic ode to Lana Turner’s hysterical rainy night drive after fleeing her cad’s house in The Bad and the Beautiful. Death tweaks this as “Mad” catches a look at her haggard self in the rear view mirror and screams! The scenes between Isabella Rossellini’s grandiose youth guru and Streep’s desperate actress are delicious. Lisle looks like a soft core Disney villainess, opposite a drenched and bedraggled Madeline, peering over her sunglasses, with blunt comments. Lisle’s house looks like Cher would live there—who might have made a terrific Lisle herself!

And never ask another woman, “How old do you think I am?”

Isabella Rossellini as Lisle & Meryl Streep as fading star Madeline Ashton have the most hilarious scenes together in "Death Becomes Her."

After the deal is struck for the potion, Madeline heads home, only to find out that Helen's been scheming with Ernest and their plan does not include eternal life for her. The star’s “eternity” potion didn't even get a test drive, and this time she gets strangled for real. But “Mad” ain’t over yet!

While entertaining, this is where the movie begins to go from smart satire and gives over to slapstick and special effects. And like The Witches of Eastwick, there was some significant re-shooting regarding the later scenes. Thankfully, there are still some good lines along the way, but the premise which is wicked and smart, loses out to the cartoon-style wrap-up. Watch the trailer for Death Becomes Her on YouTube and you’ll see a number of bits that didn’t make it into the final film.

Madeline just needs a little tweaking after her accident in "Death Becomes Her."

Meryl Streep is terrific as the comic villain, the aging bimbo actress. I've often enjoyed her more in comedy than drama. Meryl's a bit miscast as the hack glam actress (think Morgan Fairchild or Joan Collins), so this isn't Meryl’s natural habitat. But Streep’s comedic acting is hilarious and she's a good sport for looking and acting awful as the aging showbiz shrew. 

Goldie Hawn's "Hel" is going to need a lot of "filler!" 1992's "Death Becomes Her."

Goldie Hawn is a natural at comedy, of course, and she's quite skilled here, though her role isn't quite as big and flashy as Meryl's. The scene where the cops bust in on reclusive Helen and her cats and canned frosting indulgences is a riot.

Maybe Madeline Ashton should have done a musical version of "Who's Afraid of
 Virginia Woolf?" with hubby Ernest as George! Meryl Streep & Bruce Willis
in "Death Becomes Her."

Bruce Willis has the straight man role and is quite good with his humorous but natural reactions, and gets to be a comic nerd, instead of the smirking hero.

Director Sydney Pollack has an amusing cameo as the doc who can’t believe that dead Madeline seems very much alive.

Director Sydney Pollack was also a fine comic actor. Here as Meryl Streep's
shocked doc in 1992's "Death Becomes Her."

There's some fun symmetry between Madeline and Helen's behavior. “Mad's” bit in her dressing room before receiving guests, practicing her “surprised” reaction to them, is a giggle. Later, “Hel” first rehearses tears for Ernest on his doorstep in front of her mirror!

Also noteworthy: First Madeline takes the plunge down the staircase, then later Ernest does so as he tries to flee these divas, and when Helen needs a hand on the steps at Ernest’s funeral, both women go flying.

My favorite moment is accompanied by “Mad” clawing at the staircase while overhearing this assessment of Ashton by “Hel”:  “She was a home wrecker, she was a man-eater, and she was a BAD actress!”

Isabella Rossellini as Lisle steals her handful of scenes in 1992's "Death Becomes Her."

Director Robert Zemeckis gives Death Becomes Her superb visual style and keeps the craziness moving at a brisk clip. But one wonders what his greater statement was about this satire on seekers of eternal youth, as the movie gives in to slapstick. Screenwriters Martin Donovan and David Koepp supply a number of memorable one-liners and visual gags, right up to the movie’s final line.

The Deer Hunter Catches Me at Last

The epic wedding scene from "The Deer Hunter." Real drinks were served in these scenes!

I grew up watching the Vietnam War on the nightly news, so Vietnam movies seemed grimly unnecessary to me, and I never watched any of them until decades later.

I finally saw Apocalypse Now when I turned 50 in 2009, watching it on TV with Mom and Dad. We were engrossed in Apocalypse until Marlon Brando—not my Dad’s favorite—appeared, acting weird. After a few mumbled scenes, Dad waved his hand at the TV in disgust, saying, “Ahh, I’m going to bed.” This was Dick Gould’s classic thumbs down when he was done with a TV show or movie.

The Deer Hunter came out in 1978, a year after I graduated from high school in Manistique, Upper Michigan. I just watched the controversial classic for the first time this summer, 38 years after it was released. I guess I’ve been avoiding The Deer Hunter my entire adult life!

Director Michael Cimino, on  the film's set.

When Deer Hunter director Michael Cimino died in 2016, I realized I should watch the movie that made him famous. Opening the Netflix envelope, I saw that it was over 3 hours long—and wondered how 1970s audiences liked that?

All I knew about The Deer Hunter was that it made Meryl Streep and Christopher Walken stars, that the Vietnam scenes were hard to watch, and that it was an epic about everyday people.

Robert DeNiro as Mike, as the deer hunter.

A great deal has been said about this film—about its artistic merits, political accuracy, and intentions.  Though I thought The Deer Hunter was too long, I could not take my eyes off the screen. The Deer Hunter was unlike any other movie and I had no idea what would happen next. How could audiences or I know that a pivotal wedding day scene would last an hour? Or that we would next see the three men, about to leave for Vietnam, in the middle of action, and shortly after, captured? And that the group leader would actually return to Vietnam to rescue one of his friends, only to find out that he doesn’t want to be?

Meryl Streep, in her breakout role as small-town girl, Linda.

I found the small town scenes the most powerful, because they rang true. The Deer Hunter is set in a small Pennsylvania steel mill town. While the paper mill in Manistique wasn’t as all-dominating, many locals worked there or at Inland Limestone. Growing up and watching demonstrators and politicians argue about the Vietnam War on TV, I was always struck by the different attitude of people in my home town. They may have been for or against the war, but either way, just seemed to accept it as another hardship in their working class lives. I remember as a grade-schooler at Hiawatha School, when we brought treats and wish list items to mail overseas to local soldiers. I have vivid memories of when my family got the news that Dad’s brother, David, stepped on a land mine. I can still feel how horrible the news was, how frantic my family was, trying to figure out how to get Grandpa and Grandma Gould to the army hospital Uncle David was flown to. They had no extra money for luxuries like plane tickets. I remember hearing the grownups say that when word got out about David, money was donated from friends, family, and townspeople in a day’s time. So, those scenes of people coming together in The Deer Hunter, whether for a wedding or to welcome one of their own back from the war, in a simple, heartfelt way, really hit home.

The Vietnam scenes and its chaos of gunfire, bombing, and masses of people on the run, is hard enough to take. But the infamous Russian roulette scenes had me flinching. After a certain point, I felt like I was watching another movie. I think that was the point: these men were taken from their small town lives and dropped into a nightmare halfway around the world. Robert DeNiro and Christopher Walken were both 35, and John Savage was 29, when this movie was made. Despite their painfully powerful acting, the actors were clearly men, not boys. I realized later that many U.S. soldiers were so young, like my Uncle David, who was 18 at the time. Imagine going into that hell straight out of high school.

Christopher Walken won a best supporting actor Oscar as walking wounded Nick.

Just when you think you’re home free, DeNiro’s Mike goes back to rescue Walken’s Nick. And like the Vietnam War’s finish, there’s no happy ending for The Deer Hunter, either.

The controversy, praise, and criticism of The Deer Hunter are all valid. The movie is at least 30 minutes too long, you wonder where some characters have disappeared to, or ponder where is this all going? The movie’s strengths are the talents involved. The acting is uniformly top-notch. To think that John Cazale, as shit-stirrer Stan, was dying of lung cancer during filming, is mind-blowing. Vilmos Zsigmond’s cinematography is striking, making his compositions of rugged nature and the smoky factory town equally beautiful. The direction by Michael Cimino shows both his strengths and flaws. Cimino knows how to stir emotions with epic sweep and realistic detail. But like Francis Ford Coppola and his war epic, Cimino doesn’t know when less is more, or when enough’s enough. Cimino was given free rein on his next American epic, 1980’s Heaven’s Gate—which turned out to be enough rope to hang himself. The film was such a critical and commercial flop that it essentially ended Michael Cimino’s career.

The Deer Hunter, released at the end of 1978, still retains its emotional power.

I’m not one of those film buffs that love to pick movies apart or demand perfection. If a film has something to recommend it, I’ll watch. Maybe I’ll even watch Heaven’s Gate, to see what all the hooting and hollering was about.