6.5/10
1,871
46 user 33 critic

Die, Mommie, Die! (2003)

R | | Comedy | 31 October 2003 (USA)
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1:03 | Trailer

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An ex-pop singer kills her much-hated husband to be with her young lover. Her daughter plots Electra-like revenge.

Director:

Mark Rucker

Writers:

Charles Busch (play), Charles Busch (screenplay)
4 wins & 2 nominations. See more awards »

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Cast

Complete credited cast:
Charles Busch ... Angela Arden / Barbara Arden
Angela Paton ... Angela's Fan
Jason Priestley ... Tony Parker
Natasha Lyonne ... Edith Sussman
Frances Conroy ... Bootsie Carp
Philip Baker Hall ... Sol Sussman
Stark Sands ... Lance Sussman
Joshua Farrell ... Policeman (as Josh Hutchinson)
Victor Raider-Wexler ... Sam Fishbein
Nora Dunn ... Shatzi Van Allen
Christopher McDaniel ... Moving Man #1 (as Chris McDaniel)
Tom Hughes ... Moving Man #2
Stanley DeSantis ... Tuchman
Paul Vinson ... Leather Daddy
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Storyline

Retired singing star, Angela Arden, heads a dysfunctional family. Her husband, filmmaker Sol Sussman, hates her and has a kissy relationship with his nubile daughter, Edith. Angela carries on an affair with Tony Parker, a lounge lizard, who sleeps with both Edith and her brother, Lance, but not before Angela plots to murder Sol when he cuts off her allowance. Bootsie Carp, the family maid loyal to Sol, is on to Angela, but the diva works quickly and poisons Sol. Edith suspects foul play and wants Lance's help in proving mom's guilt. Lance, who loves his mother deeply, is conflicted. Will Edith succeed? Does love lurk somewhere? And what about Angela's long dead sister, Barbara? Written by <jhailey@hotmail.com>

Plot Summary | Plot Synopsis

Taglines:

Hollywood...It's a dirty town but someone has to do it!

Genres:

Comedy

Motion Picture Rating (MPAA)

Rated R for strong sexual content, language and a drug scene
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Details

Country:

USA

Language:

English

Release Date:

31 October 2003 (USA) See more »

Also Known As:

Piccole bugie travestite See more »

Filming Locations:

Los Angeles, California, USA

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital
See full technical specs »
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Did You Know?

Trivia

During one of the black and white flashbacks, Barbara is shown at a jewelry counter that reads "Kenwrights", named after the film's producer Bill Kenwright. See more »

Goofs

Movie is set in 1967 but Angela sings the Blood, Sweat & Tears hit "Spinning Wheel" which was not released until 1969. See more »

Quotes

Angela Arden: [Back at the house after the funeral for Sol] Bootsie, remove some of these floral tributes. They're wilting and I can't bear to be surrounded by more death.
Bootsie Carp: I think I'll put some of these petals in the pages of my bible.
Angela Arden: As you wish.
See more »

Crazy Credits

After the credits, there is silent black and white footage of Angela christening a ship. See more »

Connections

References Imitation of Life (1959) See more »

Soundtracks

(Won't You Come Home) Bill Bailey
Written by Hughie Cannon
Performed by Charles Busch
See more »

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User Reviews

Overlooked Film Reference
25 October 2004 | by waylonsmithers9See all my reviews

In spite of all the references to various Hollywood "women's films," I thought that the most inspired in-joke was having Angela (Charles Busch) and Lance (Stark

Sands) speak to each other in a secret language, much to the annoyance of

Edith (Natasha Lyonne). Lyonne fans will recall that her character in SLUMS

OF BEVERLY HILLS had a secret language that she shared with Marisa

Tomei's character.

Overall, I thought this was an okay film. As a fan of the kinds of films that provided the inspiration, I enjoyed the various in-jokes and references.

However, I felt that the cinematography could have been more stylized, with

deeply saturated colors. Oddly enough, a deleted scene that appears on the

DVD looks more like a 1950s Technicolor melodrama than the film itself. As for Charles Busch, he looked too much like a man in drag for my tastes. While his masculine appearance did add to the humor (particularly when another

character commented on Angela's beauty), at the same time, I found it

distracting, especially in his close-ups. Perhaps the cinematographer could

have used soft-focus for the close-ups, thus mimicking the techniques of those who photographed all those aging actress horror films of the 1960s, not to

mention the Lucille Ball version of MAME.

In any event, this was a fun film for those who understand the genre, although I would not go so far as to call it a classic, camp or otherwise.


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