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The term “dark comedy” often seems overused, as relatively few films really strike the balance between truly dark and truly funny, tending instead to fall more on one side or the other. One film that really deserves the title, however, is Mark Waters‘ 1997 adaptation of Wendy MacLeod‘s play, The House of Yes. Blending sharp, clever dialogue and a wonderfully unhinged lead performance by Parker Posey with exceptionally disturbing subject matter and boldly unlikable characters, The House of Yes has to be one of the darkest comedies ever made. At the same time, though, it is strikingly funny.
Posey is “Jackie-O” Pascal, a disturbed young woman with a lifelong obsession over Jacqueline Kennedy Onassis and, especially, the JFK assassination. As a child, she once dressed as her namesake for Halloween, complete with fake blood and “brains” made from macaroni. She also has an unhealthy fixation on her twin brother, Marty (Josh Hamilton), with whom she shares a far too close relationship, even for twins. Their mother (Genevieve Bujold), upon meeting Marty’s fiancée, Lesly (Tori Spelling), tells her, “Jackie and Marty belong to each other. Jackie’s hand was holding Marty’s penis when they came out of the womb.” This casual admission of such an unsettling fact to a relative stranger gives the viewer a pretty strong idea of how this unbalanced family came to be the way they are.
Jackie and Marty’s younger brother, Anthony (Freddie Prinze, Jr.), has his share of problems as well, chief among them being his strong desire for the sort of bond shared by the twins. Feeling left out, he makes clumsy advances toward Lesly, heightening her understandable discomfort as she is basically stranded with her bizarre new family during a hurricane. The film’s single location and relatively few characters, as well as its reliance on dialogue and performance above all, make its origins as a stage play obvious, but that doesn’t really hurt its impact. The oddly claustrophobic nature of the single location only adds to the tension of the situation as poor Lesly, who is clearly Marty’s futile attempt to escape from his insane family, struggles to cope with the extreme dysfunction all around her. Of course, Marty can never really escape from the madness of his family, since he himself is such an integral part of it, and the conclusion of The House of Yes is in keeping with the rest of it: relentlessly dark, and at the same time, disturbingly funny.