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.
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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