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When Chip’s teacher insinuates during a PTA meeting that she’s a bad parent, she runs him over in the parking lot behind the school.
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Little do they know that Beverly is actually a ruthless serial killer, wantonly murdering neighbors, acquaintances, and bystanders for perceived slights and rudeness. She lovingly dotes on her dentist husband Eugene (Sam Waterson), her boy-crazy daughter Misty (Ricki Lake), and her gore film obsessed son Chip (Matthew Lillard). The film centers on Beverly, as perfect a vision of a 1950s white picket fence matriarch as possible: perfectly coiffed hair, blindingly clean dresses, an ingratiating demeanor, a permanent smile. With a winsome smile, Beverly chastises her for wearing white shoes after Labor Day. Shortly after helping declare Baltimore’s first serial killer Beverly Sutphin (Kathleen Turner) not guilty on all charges of murder in the first degree, she’s confronted by the titular maniacal mom in a side-room of the courthouse. And though the part was minor with only a minute or two of screen time, none of her roles were more biting and ironic than Juror No.
Shortly afterwards Hearst would become a member of Waters’ stock company, appearing in all of his post-80s movies. And it was here, decades later at this unexpected meeting in Cannes, that Waters’ two great loves-trials and cinema-would collide.
Is it any surprise that Waters, the king of bad taste and trash cinema, would count himself among their number? Long fascinated by death and violence-in his autobiography Shock Value Waters recounts traveling to junkyards as a boy so he could look at the blood-soaked insides of totaled cars-he journeyed to famous trials in-between shooting transgressive classics like Multiple Maniacs (1970) and Pink Flamingoes (1972). They would write cards and fan letters to the killers, some even professing undying romantic love or hybristophiliac lust for people who had gruesomely kidnapped, raped, tortured, and murdered untold innocents.
They would camp out in front of courthouses for seats in the gallery like tailgaters at a football game or techies at an Apple launch. But in the era before Judge Judy, before the 24-hour news cycle, and before social media, there was in fact a thriving counterculture of serial killer groupies who traveled the countryside attending the trials of the most despicable and loathsome murderers in American history. Props and sets have the ironic theatricality of Tim Burton's "Edward Scissorhands." Color is rich, bold and consistent, presenting natural flesh tones and distinct black levels.When kidnapping victim and unwilling media sensation Patty Hearst first met director John Waters, it was at the Cannes Film Festival where he reportedly walked up to her, introduced himself, and casually mentioned “I went to your trial!” Years later, Hearst recalled her astonishment, both at Waters’ nonchalance and the idea that anybody would willingly attend another person’s trial, let alone her own. Clarity, detail and depth are solid throughout.
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This is the same issue the fun comes in the collection of ported extras – Commentary One with Waters and Turner Commentary Two with Waters "The Making of 'Serial Mom'" "Surreal Moments" and "The Kings of Gore: Herschell Gordon Lewis and David Friedman" – plus the new bonus feature.
#Beverly sutphin serial killer true story 1080p#
Shout!'s 1080p transfer (1.85:1 ratio) is the best "Serial Mom" has ever looked – except when it was first released on Blu-ray disc. Next up, finding an agent to handle Serial Mom's newfound celebrity.
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It's not much of a spoiler to say Beverly is eventually caught, and her trial becomes a media sensation. Wearing white after Labor Day rates a sure-fire death sentence. Misty's date is skewered with a fireplace poker when he stands her up.
She takes out her son's math teacher when he suggests Chip isn't working up to his potential – and might also have serious mental health issues. Still, Beverly's big secret is she's a serial killer, murdering those who pose a threat or for even the smallest slight.
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