RICK'S REAL/REEL LIFE

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.

Edward Albert & Goldie Hawn get romantic in 1972's "Butterflies Are Free."

Edward Albert was just 20 when he starred in his first major film, Butterflies Are Free. Sadly, Albert only lived to be 55. Edward would be 70 as of 2/20/21. This post is written as a tribute to the appealing actor with a fascinating life.

Leonard Gershe’s stage smash Butterflies Are Free, which ran three years on Broadway, was snapped up as a movie for Goldie Hawn. Producer Mike Frankovich, Jr. had showcased Hawn in her Oscar-winning role from another stage hit, Cactus Flower.

That '70s movie poster! "Butterflies Are Free" was a Broadway smash and movie hit.

With Butterflies Are Free, there are essentially three characters: Jill Tanner (Goldie Hawn), Don (Edward Albert), and Mrs. Baker (Eileen Heckart.) Paul Michael Glaser appears in the last act, Starsky and Hutch just around the corner, as a douche director.

Butterflies Are Free is the story of Don, a young blind man who falls for the free spirit next door, and fights with his overprotective mother for his own space. Don was played onstage by Keir Dullea. The actor was 35 when Butterflies was filmed, too mature onscreen for a young guy who has just flown from the nest. Edward Albert was 20 when he was cast. Aside from some acting work as a child, this was Albert’s first screen role.

Keir Dullea & Blythe Danner originated Don & Jill in "Butterflies Are Free."

Hawn’s Jill is just 19 and an aspiring actress (Goldie was 26), who has already been married once, and is anti-commitment. Yet, Jill literally barges in on the life of neighbor Don Baker, a blind musician on his own. In less than two days, the two fall madly in love, nearly break up, and reconcile! Aside from that, their rapport and romance is charming, until overprotective Mom (Heckart) “drops by” from a suburb near the San Francisco-set film. Mrs. Baker finds the shabby chic apartment appalling and is on high alert when she finds Jill cavorting with her baby boy. Don has already experienced a bad romance with a similar type, who encouraged him to move to the city, only to dump him.

Free spirit Jill (Goldie Hawn) and blind Don (Edward Albert) get to know each other.

As Jill, Goldie Hawn is the hippie chick successor to Marilyn Monroe. Seemingly a dumb blonde, Hawn’s Jill is actually pretty smart, aside from some ditzy moments. Goldie’s role has similarities to Marilyn’s sexy neighbor next door in The Seven Year Itch. She’s realistic about men and relationships, and her own limitations. She’s child-like yet wise, with a distinctive star persona. Like MM, Hawn is effortless in navigating between comedy and drama, and Goldie’s most appealing here.

Goldie Hawn's appeal is effortless as aspiring actress Jill, in "Butterflies Are Free."

Eileen Heckart won a Best Supporting Actress Oscar as Mrs. Baker. She lost the Tony for the same role to Blythe Danner, who created the role of Jill Tanner onstage. Heckart is an old pro at playing vinegary but essentially likeable characters. Eileen and Goldie ping pong the smart lines as the two adversaries. But Heckart gets to show more, once Mrs. Baker sees that Don might get hurt again by another fluttery girlfriend. It’s in these moments that Heckart is most understated and affecting, as she starts to see the light, to set her son free.

A heart-tugging moment in "Butterflies Are Free," when Eileen Heckart's mother lets go of her blind son, despite his distress at the moment.

As for Edward Albert, he holds his own against these two comedic pros as the blind aspiring musician. Albert is appealing, intelligent, empathetic, and just happens to look a bit like young Montgomery Clift. Also, he sings quite pleasantly. Edward researched his role well, studying at the Braille Institute. After this film, Albert teamed with many of the Butterfly crew to film another Broadway hit, 40 Carats. Unfortunately, it flopped, and Albert went from promising young lead to journey man actor. If Albert was starting out in today’s show business, his diverse talents would have afforded Edward more of a shot at stardom.

At 20, Edward Albert played the independent blind man in "Butterflies Are Free."

Part of the problem was Albert started out as a likeable, handsome young actor at the height of the realistic filmmaking era, with stars like Hoffman, Pacino, and Hackman setting a very high standard, without relying on movie star looks. Younger actors who were more lightweight and handsome, like Edward Albert or say, Jan-Michael Vincent, William Katt, Christopher Reeve, or a younger Kurt Russell, didn’t get the top film roles. Jeff Bridges, whose background was similar to Albert’s, was able to leave the boyishness behind and move on to meaty roles.

Edward Albert as a boy, with parents Eddie Albert & Margo. Adopted daughter  Maria is the only survivor of the immediate Albert family.

Edward Albert was the son of beloved character actor Eddie Albert and Mexican actress Margo. Eddie was most famous for Green Acres and Margo for Lost Horizon. Like the Bridges family, the Alberts were very politically and socially active. And like Lloyd Bridges, the Alberts were blacklisted for awhile during the ‘50s. Eddie later became an environmentalist. I mention this because Edward also became strongly involved in environmental and Native American causes, and spoke with pride about his parents standing up to the blacklist. Like his father, Edward had a prolific career as a character actor rather than leading man. Later came unfortunate times for the Alberts. First, Margo died at just 68 of a brain tumor, in 1985. Later, when Eddie was in his 80s, Albert was diagnosed with Alzheimer’s. Edward put his career on the backburner to care for his otherwise healthy father, who lived to be 99! Sadly, Edward found out that he had lung cancer a mere month before father Eddie died. Edward Albert died Sept. 22, 2006, 18 months after his father. A sister, Maria, was the only survivor of the small Albert family.

Edward Albert's first film role, "The Fool Killer." His co-star was Anthony Perkins, who plays a possible ax murderer. Need I say more?

Edward Albert’s career was prolific, he was educated at Oxford, and was multi-lingual. He also came from a great lineage (Xavier Cugat was his great uncle, and his godfather was Laurence Olivier), he enjoyed one long, happy marriage, and became a father to a daughter.

Edward Albert & Eddie Albert, later in life.

Edward Albert lived a short life, but one that was well-lived. How lucky that movie watchers can watch him in his leading man debut, Butterflies Are Free.

Here’s Army Archerd’s obit for Edward in Variety: https://variety.com/2006/voices/columns/edward_albert_d-1200571358/

And here’s Edward’s actual film debut, in 1965’s “The Fool Killer.” Edward plays a runaway boy during the Civil War era, who encounters a number of odd characters, including Anthony Perkins!

https://ok.ru/video/2631968754356

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Edward Albert & Goldie Hawn, forever young on film, in "Butterflies Are Free."