The Horror of Being Beautiful

Since Victorians put poisons on their face such as arsenic, belladonna and lead, to be beautiful can be deadly. As society changed, so did society’s perceived beauty, but there is an almost constant battle that women must be attractive. When this comes to horror films, this is ultimately shown as women becoming a monster, pursuing perfection and rejected by the male dominance that made them choose this path. 

One of the earliest films that spring to mind where women desiring perfection brings disaster is The Wasp Woman. Directed by Roger Corman, this film is campy with amusing dialogue and shocks that are only suitable for a teenage audience of the 50s. The Wasp Woman could be seen as a feminist take on The Fly, interestingly the last of Corman’s schlock period (although he does return to this later) before going on to do his moody adaptions of Poe’s work.

With a tagline “A beautiful woman by day – a lusting queen wasp by night” telling you exactly what you are getting, despite it being one of the most deceitful pieces of artwork. A cosmetic representative called Janice Starlin (Susan Cabot) is the first to test a youth serum made with enzymes taken from wasps, created by Dr Zinthrop. But Starlin does not wait for the serum to work and breaks into his office, giving herself a large dose of the serum. Soon Dr Zinthrop realises the serum’s side effects, after being attacked a kitten who had been given a vast amount of the serum, but is struck by a car before he can warn anyone. 

Starlin harasses Dr Zinthrop about more serum while in the hospital, where it is revealed the accident means he no longer remembers how to make the serum. In her desperation to get what she needs, she demands that the best doctors look after him, all paid for by herself. Despite knowing there is a limited supply, she continues to take it. Soon Starlin is heading for a breakdown, which results in her killing people in random fits of anger. As her longing for a more potent dosage of the serum means our beautiful lady becomes a humanoid bug, buzzing completely with wasp gloves and headpiece with antennae. 

Not very convincing. Starlin meets her merciless destiny by employee Lane and his girlfriend within the deadening moment of the film. Laughable bad now, but the message is there. There is no getting away from the similarity with The Fly, but The Wasp Woman does make some improvements. Women in 50s film were there to be the damsel in distress, but Starlin is so much more than that as the viewer ends up sympathising with Starlin, because her performance is compelling and Cabot gives it her all. The actors do not treat this as a campy B-Movie, giving it an air of professionalism, plus bonus points for spotting Corman as the doctor who treats Dr Zinthrop in the hospital. 

It is a cool idea and is similarly used in Roald Dahl’s Short story “Royal Jelly” with the same negative outcome. The short story’s use makes more sense entomologically as “Royal Jelly” is fed to larvae to grow. One of the bizarre Twilight Zone moments that only Hollywood can create is Cabot’s shocking murder. Her home filled with piles of trash and rotting food. 

Cabot had been living with her son Timothy who had been born with dwarfism. Timothy had been drugged with growth hormone taken from cattle cadavers, leading him to develop Mad Cow Disease. It is believed that Timothy murdered his mother from the drugs’ side effects in a fit of rage. Aside from this, The Wasp Woman touches on the solid matter of anxiety with loveliness and freshness. 

So while The Wasp Woman is a “serious” horror film, the theme of pushing beauty to the nth degree was done for laughs in Robert Zemeckis’ Death Becomes Her, an incredible ironic piece. The theme on beauty goes astray and looks at man’s need to be loved by a patriarchal God in this 1992 cult classic. Death Becomes Her, a dark comedy with cutting special effects about narcissism, sexual characteristics, selfishness, maturing, womanliness, splendour, fatality and zombies (kind of). I have fond memories of loving this film as a child, it was a PG after all, for its wacky body horror. As an adult, I understand that is it smarter, sadder and more sarcastic than I could even begin to comprehend when it first came out. It still manages the balance of being strange, spooky and family-friendly. But it took a long time for it to be recognised as the masterpiece as it is today. Maybe if it had been an indie film as first imagined by David Koepp and Martin Donovan with “faded stars” such as Ann Margaret, Tuesday Weld and Dean Stockwell, it would have done better from the beginning. As soon as Robert Zemeckis got involved, the film grew into something much deeper and more strange than was first imagined. 

It still seems more relevant now than it was back then. There is also an element of trans issues trying to completely change the body you inhabit, and this sleeper hit has become a ground-breaking gay film. Death Becomes Her had two of the most bankable leading ladies, Madeline Aston (Meryl Streep) and Helen Sharp (Goldie Hawn) as the original frenemies, when it was cool (I suppose), one of whom has been in the shadow of the other.

Madeline is an actress and man-eater while Helen is a struggling writer with a mousey nature and some serious issues. Madeline steals Dr Ernest Menville (Brue Willis) from Helen, and things get crazy. We have magic potions, a handful of horrible “death scenes” and Isabella Rosellini is the most amazing beaded bikini number. It is nastiness that makes the woman drink the potion to alter their maturing body, given to them by Rossellini to guarantee eternal youth and immortality. 

We also have Dr Menville, a man with love for beige, and the dull and discreet personality of a blancmange. After leaving Helen for Madeline, we see that 14 years down the line, his lust leaves him in a disgusting marriage, where his glamourous wife treats him like garbage, sexually disregarded and intellectually sluggish, getting what he needs from alcohol. No longer the star he once was, he now spray-paints corpse to make them look human. We discover the women’s immortality after Dr Menville decides that the only way out of this hell is to murder his wife.

Dr Menville runs a gamut of emotions from dread, approval and in a strange way achievement. He is a man that craves attention and is scared of being seen. His is noted, or at least his work is noted, as the acclaimed plastic surgeon who exists solely on narcissism, splendour and arrogant control of the body. But he is a man-child playing at an adult, in an oversized suit, using complicated words, hoping to get something respect for those he will never get it from. 

This is not the first time we have a film about fading stars trying to clasp onto fading glory, we have All About Eve, or, one of my favourite horror films, Whatever Happened to Baby Jane, and there is more than a passing nod to 1940’s style in Death Becomes Her. But instead of destroying the competition, Death Becomes Her’s female characters decide to improve themselves. Instead of growing old gracefully, Madeline and Helen, narcissistic obsessed antiheroes, chose to cheat time.

Both women are wonderfully dishonourable. Streep has the time of her life in a more physical and verbose role than what she was known for, as the narcissistic Madeline. Death Become Her died at the box office after a spate of rough reviews. But since then, the film has become a must-see for the queer community. Madeline and Helen are cosplayed especially by drag queens. The film is often shown during Pride month with the viewers able to quote every line. Although there is a love triangle in the film, it is really the pettiness of Madeline and Helen that drives this film. 

Although Willis is the lead male character, he is not the hero or the cool guy, despite it being the type of roles we would more associate with him, but the pawn in life’s nasty game of chess, a rarity in most films. Because we don’t have heroes or villains, we have tricky characters with anxious pasts, lack of self-confidence and a drive to literally kill to get what they want. Madeline and Helen show how complicated female friendships can be, acting like sisters, fighting to get the most attention, but they will admit and become friends again when they go too far. 

What Death Becomes Her is most famous for was the ground-breaking, body-bending computer effects seamlessly entwined with significant practical effects, giving the film its horrific punchlines and visual gags. The scene with Hawn ranting at Streep while ignoring the gaping shotgun hole in her stomach is jaw-dropping and dreadful, but amusing. Death Become Her is its own magic potions for its fans, either to reject ridiculous narcissism or oppressive heteronormativity, but gives them a right to be what they want to be. 

We understand why Madeline and Helen choose to remove the shackles of dull rules and decide to get what they can. Death Become Her is a dream of disobedience and attractiveness, and while it does not end well for our anti-heroines, it could be a dream reality to its audience. Death Becomes Her lets us laugh at ourselves, but at a society that has a contradictory belief that we need to be both virgin and whore at the same time. A society that tells us that a woman can only be feminine when natural, while berating us for not removing our flaws. For me, it is a beautiful film and one of those early films that became a precious gem amongst all the other films I watched as a child. Writing about it now gives me a sense of joy that I have not experienced for many years.

And just when you thought that women’s obsession with the body beautiful had reached its dramatic conclusion with body horror Death Becomes Her, along came an even more twisted version, and this time all set to music with the arcane Repo! The Generic Opera. As well as an obsession with beauty, this rock opera has drugs, corporation greed, soap opera style family drama, harvesting of organs and grave robbing. The film is also infamous for its most “interesting” cast choices in Paris Hilton and the director, whose previous film credit included the Saw sequels. Ultimately, this is a marmite film, you either love it or hate it. A film that is often compared to Rocky Horror Picture Show, as a cult musical aimed at the fringes of society. The difference being that Rocky Horror Picture Show never set out to be that whereas Repo! The Generic Opera does. Repo! The Generic Opera, a dystopic gothic rock opera that follows GeneCo, a surgery company when surgery is commonplace as the weekly shop. 

GenCo is run by the wicked but delightful president Rottissimo “Rotti” Largo (Paul Sorvino). Rotti controls society from payment plans, Repo Men’s squads, and preventing bills that would ban organ repossession. Rotti who has come to power on the roots of other people’s disadvantage. He does not care about the people who come to his company but convinces himself that he is adored. 

Rotti has a total distraction of opera to hide the disgust, the chemical obsession, extortion and manslaughter in the middle of this health crisis. This happens as people rack up huge debts to get their cosmetic fixes from Rotti, who is quickly handing out these loans. Still, the penalty for missing payment is a visit from the Repo Man Nathan (Anthony Head), who either removes the organ that you have defaulted payment on or just damages you. This means that there is a class war, between those that need it but cannot afford it and those that can and abuse it, by changing as quickly as fashion changes. But like all men who appear to have everything in control, there is something he needs – a cure for his terminal illness. 

And perhaps some better offspring, as all of them seem unsuitable and unskilled to take over when Rotti passes. The children are Luigi Largo (Bill Moseley), who has the fierce temper of a psychopath, resulting in him either ripping off his shirt or stabbing random people and taking no shit. Pavi Largo (Nivek Ogre) is a nutty freakshow womaniser who has stapled a woman’s skinned face to cover some strange facial scars. 

Finally, we have Carmela “Amber Sweet” Largo (Paris Hilton), referred to as a “scalpel slut”, addicted to unnecessary surgery to the point that it is an obsession, who will literally lose face during the film. With the Largo’s heritage being Italian, its culture is stylish, including the rise of opera, with GeneCo the controlling force behind its biggest star, Blind Mag (Sarah Brightman). Their control over Mag comes from the fact that she received glow in the dark corneal transplants from GeneCo after being born blind but with a beautiful voice. At the moment, Mag is about to “retire” so the Repo Man will take back their eyes and end her life. Even in 2008, the implications of haves and have-nots in healthcare were alarming, but after 2020, we have gone through an accurate pandemic that killed millions of people, which feels more real. As well as Largo, we also have Shilo Wallace (Alexa PenaVega), a housebound teenager who has a blood disorder that killed her mother. 

But like all teens that are locked up, she dreams of being free. Shilo’s freedom comes from Rotti, with a cure for her condition, and drives her into the arms of GeneCo. We learn that Shilo’s mother was a former lover of Rotti and therefore, this could be a way to reconnect to a part of his life he wished he had kept. Shilo meets the Largo children, “GraveRobber” (Terrance Zdunich) who pimps painkillers called Zydrate, in little glass bottles. Zydrate is giving for sexual contact as addicts requesting the smallest fix, and Blind Mag may have some knowledge about Shilo’s mother and her past, as we discover that she is Shilo’s godmother. The problem of Repo! The Generic Opera is editing. The songs are strained which makes them atonal glut through either reciting or barely fitting lyrics. 

Even Head, known for the musical work, more than people realise, has terrible moments due to dull disjointed songs, and does not suit rock-star wailing. The plot point is also repeated frequently, so the storyline feels strained. Therefore it feels like the whole film is too long. Critics did not like this film, giving the film low ratings, bemused by the casting choice, laughing at the low budget, and finding it nauseous. The audience was more forgiving, with a small but devoted cult following as the film became a staple for Halloween viewing. The whole thing is so over the top that the disturbing imagery is even too absurd to be provocative or memorable as you get caught up into the story. Actually, the film has some arty value. It is an excellent mixture of revolutionary, goth and campy aesthetics is a joy. 

Highlights include Amber’s ever-changing appearance due to her obsession with surgery, which works well with ruthless and successful makeup prosthetics. And the Genterns outfits of three-inch heels and perfet white halter-neck dress, uncomfortably short, so Pavi can rip their underwear off when he is in the mood. Or Nathan, putting his hand through a man’s throat after he removed the guts through his chest, and working him like a ventriloquist dummy, making the corpse puppet sing a song with him. It is hilarious. You have to remember that Bousman did not receive much support from Lionsgate and it is clearly apparent when you watch the film. 

The sets and costumes look cheap, and the effects are hilarious and not daunting. It is disgusting for a musical, but the horror is about addiction, dependence on plastic surgery, and financial ruin caused by these addictions. Repo! The Genetic Opera is a strange film with a collection of trashy ideas, and it may have never been created if Bousman had not been able to finance himself, but I am happy this delightful mess of a film exists. 

The visuals are noteworthy and ominously Gothically beautiful, and that alone is worth a watch. Comic book style opening credits and backstory are distinctive. The palette of the films is shadow-filled. And although the costume looks cheap, each character has its own steampunk style. But the cheap gore, the jerking song and overbearing performance can wear thin. 

It is not a soundtrack that I would not rush to get, unlike Rocky Horror Picture Show’s soundtrack. Most of the excruciating and needlessly disgusting and the cinematography goes over the top on the gore effects. Some of the darker scenes are difficult to see what is going on. It is a tick box experiment on making a cult film, with an expert understanding of guts, goth and garishness, and as I mentioned it had a cult following, even if the rest of the world did not get it.

When I choose these three films from what I remembered, I thought that all of the females were portrayed as monsters and while that was undoubtedly true for The Wasp Woman, it is not so clear cut for Death Become Her and Repo! The Generic Opera. While it is right to say that the characters in these films are monstrous, they somehow transcend their on-screen persona and tell the audience that it is acceptable to challenge the body that you are born into, and finding happiness in your own skin is a worthy goal. 

Beverley Price is a writer who hails from a small town in Carmarthenshire, Wales, a three-time winner of the title “Chief Poet Skald of Suffolk”, a local eisteddfod. She has had a poem published in an E-book called “Poems from Beyond the Grave” and “Serial Killers - A Pizza Eaters book”. Beverley has her own poetry book “The Flowering of the Black Petal” and “By Ink, By Pen, by Paper: A Tribute to Black Petal” under the alias Stormy and a novel “Blood Bound”. Beverley is a feature writer for the London Horror Society, looking at “so bad, they’re good” films, Hammer Horror and banned films in the UK.

Beverley is always open for conversations about horror, and the weirder, the better

@stormywriter2