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190 user 66 critic

Death Becomes Her (1992)

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When a woman learns of an immortality treatment, she sees it as a way to outdo her long-time rival.

Director:

Robert Zemeckis
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Popularity
1,863 ( 632)
Won 1 Oscar. Another 4 wins & 16 nominations. See more awards »

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Cast

Cast overview, first billed only:
Meryl Streep ... Madeline Ashton
Bruce Willis ... Ernest Menville
Goldie Hawn ... Helen Sharp
Isabella Rossellini ... Lisle Von Rhuman
Ian Ogilvy ... Chagall
Adam Storke ... Dakota
Nancy Fish ... Rose
Alaina Reed-Hall ... Psychologist (as Alaina Reed Hall)
Michelle Johnson ... Anna
Mary Ellen Trainor ... Vivian Adams
William Frankfather ... Mr. Franklin
John Ingle ... Eulogist
Clement von Franckenstein ... Opening Man
Petrea Burchard ... Opening Woman
Jim Jansen ... Second Man
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Storyline

In 1978, in Broadway, the decadent and narcissist actress Madeline Ashton is performing Songbird, based on Tennessee Williams' Sweet Bird of Youth. Then she receives her rival Helen Sharp, who is an aspiring writer, and her fiancé Ernest Menville, who is a plastic surgeon, in her dressing-room. Soon Menville calls off his commitment with Helen and marries Madeline. Seven years later, Helen is obese in a psychiatric hospital and obsessed in seeking revenge on Madeline. In 1992, the marriage of Madeline and Menville is finished and he is no longer a surgeon but an alcoholic caretaker. Out of the blue, they are invited to a party where Helen will release her novel Forever Young and Madeline goes to a beauty shop. The owner gives a business card of the specialist in rejuvenation Lisle Von Rhuman to her. When the envious Madeline sees Helen thin in a perfect shape, she decides to seek out Lisle and buys a potion to become young again. Further, she advises that Madeline must take care of ... Written by Claudio Carvalho, Rio de Janeiro, Brazil

Plot Summary | Plot Synopsis

Taglines:

Some people will go to any lengths to stay young forever. But Madeline Ashton and her old friend Helen Sharp are about to go TOO far. See more »

Genres:

Comedy | Fantasy | Horror

Motion Picture Rating (MPAA)

Rated PG-13 for some nudity and off-color humor | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA

Language:

English

Release Date:

31 July 1992 (USA) See more »

Also Known As:

La muerte le sienta bien See more »

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Box Office

Budget:

$55,000,000 (estimated)

Gross USA:

$58,422,650

Cumulative Worldwide Gross:

$149,000,000
See more on IMDbPro »

Company Credits

Production Co:

Universal Pictures See more »
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Technical Specs

Runtime:

Sound Mix:

Dolby SR

Color:

Color

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Sydney Pollack portrays the E.R. Doctor in an uncredited role. See more »

Goofs

Just after a drugged Madeline falls face-down in her dinner (according to Helen's plan), all the candle flames are wafted by the rapid passage of the camera up the table. See more »

Quotes

[first lines]
Opening Man: [leaving the theatre in the rain] Can you believe that? A musical version of "Sweet Bird of Youth."Who are they kidding?
Opening Woman: Thank God you wanted to leave...
Second Woman: Can you believe Madeline Ashton? Talk about waking the dead.
Second Man: I gotta get a drink...
[zoom in on discarded playbill featuring Madeline Ashton]
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Soundtracks

Rosen aus dem Süden
(uncredited)
Written by Johann Strauss (as Johann Strauss II)
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User Reviews

 
From The Sublime To The Ridiculous
12 March 2006 | by bethlambert117See all my reviews

There is so much greatness in this unexpected Hollywood comedy that the cheap shots are really cheap and, quite frankly, unbearable. Buried somewhere between the special effects (extraordinary by the way) is one the wittiest satires to come out of Hollywood in many, many moons. Meryl Streep is sensational and Bruce Willis is, I swear, unrecognizable in the best possible way. The movie hits the highest moments when, for instance, Meryl asks Isabella Rossellini how much the magic potion costs and Isabella replays: "Oh the sordid topic of coin" sublime, exquisite, funny but with enormous regard for its audience. But when Bruce calls Goldie Hawn to explain the "incident" at home he goes through a TV style monologue that seems to belong to a sit-com and not to the elegant vulgarity of this three sad, magnificent wannabees. The dialog, for the most part, is the best in any American serious comedy since Billy Wilder. The structure of the script is flawless and inventive. The costumes are atrocious and certain scenes seem directed by a 3rd assistant. I don't know how to explain it. However, I have it, I own it and sometimes I put it on with my finger in the fast forward. What's good is so good that makes the whole thing really worth it.


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