Independent film has gone through tons of different phases, periods, and challenges. From the arduous journey that is receiving funding in the modern day, to the absolute golden age that was the 1990s, every single period has hidden gems waiting to be excavated. The 1990s is considered indie film’s golden age not only due to the great number of films that have stood the test of time, but also because of contemporary box office performances. Whether it’s New Line Cinema’s Teenage Mutant Ninja Turtles or Kevin Smith’s Clerks, all sorts of indie gems had a chance at mainstream success, but not all of them achieved it.
Some of the greatest independent films of the 1990s decade have gone completely underappreciated in the years since, but no single movie had a more colossal failure attached to it than 1995’s Party Girl. This highly underrated indie gem suffered through a limited theatrical release, underwhelming box office gains, scathing contemporary reviews, and a catastrophic spinoff, and lived to tell the tale. Despite all of these attempts to hold the film back, Party Girl has become a certified cult classic that even spawned a TV spinoff that undoubtedly deserves to be remembered.
What is Party Girl About?
1995’s Party Girl is about as independent as an independent film can get. This film was the directorial debut of Daisy von Scherler Mayer, who had never set foot on a feature film set before. Mayer came from a theatrical directing background and was incredibly talented in her limited experience. She assembled this powerhouse cast and crew through her involvement in the queer downtown club scene, which also inspired many plot points within the film. As evidenced by the ragtag and hastily assembled cast and crew, Party Girl was made on a budget of only $150,000 and was entirely shot in only 19 days.
Parker Posey and Liev Schrieber collaborated for three straight years, with Mixed Nuts, Party Girl, and The Daytrippers.
The chaotic circumstances that led to Party Girl’s production just might be what makes the film so great. The film has been described as aimless, meandering, and rushed by dissenters, but authentic, empowering, and charming by supporters. Much like other independent films of the time, Party Girl shoots not for total realism, but for a unique offbeat voice that reflects a marginalized community. Queer voices and those feeling lost post-college will feel comforted by the characters in Daisy von Scherler Mayer’s film, and for that alone it deserves to be remembered.
The plot of Party Girl is scattered all over the place, but the main story does follow a conventional route. The story primarily follows Mary (Parker Posey), an aimless, stylish, and wholly free-spirited New Yorker. She spends her nights attending and throwing wild parties, and wastes away the day while scraping by with the little money she has. After an illegal rave, Mary is arrested and thrown in jail. Later on, Mary is bailed out by her godmother Judy, who reluctantly offers Mary a position at her library to keep her on the straight and narrow.
Though initially resistant and resentful of Judy, Mary suddenly finds herself with purpose. She becomes inspired by the rigid order and organization of her library work and begins to take her new job incredibly seriously. She wavers in and out of her party lifestyle and falls for Mustafa, a local street vendor, along the way. With her new job, a budding relationship, and a new mindset, Mary sets out to prove that she is capable of real responsibility, but this journey towards change is not without challenges. From surprise parties to eviction notices to flimsy job security, Mary finds that growth is an uphill battle, but one she is willing to climb.
Party Girl is an entirely unconventional coming-of-age film, but one that deserves to be immortalized in the pantheon of great life lessons. There are plenty of coming-of-age tales tailored to young children, high school students, and college students, but post-grad young adults rarely get the reckless role models they deserve. Daisy von Scherler Mayer and company, while not shooting for realism at all, managed to collectively create one of the most strangely relatable films to ever exist. Party Girl is evergreen and eternally relevant, and is certain to put a smile on the face of even the most stoic moviegoer.
Party Girl Inspired a Failed TV Spinoff
There aren’t many success stories when it comes to television spinoffs of beloved films. Some of the members of this elite club are Noah Hawley’s loosely related Fargo spinoff, Buffy the Vampire Slayer, which entirely surpassed the legacy of the original film, and HBO’s Westworld, which managed to accomplish the same impressive feat. The connective tissue between these three success stories is that the films that they were based on were hugely successful smash hits. The same cannot be said for Party Girl.
While the critical reappraisal and subsequent cult status of 1995’s Party Girl is undeniable, it simply did not exist in 1996. The show, which went by the same name, was a sitcom that sought to recapture and elongate Mary’s story of professional growth. In theory, the show sounds like a surefire success, as the concept behind the Party Girl film already sounds similar to a sitcom, but the reality is far more disappointing.
The Party Girl spinoff series starred John Cameron Mitchell, Christine Taylor, and Swoosie Kurtz.
The 1996 Party Girl sitcom failed to recapture the greatness of the film, mostly due to the complete change of cast. Without the everlasting charm of Parker Posey and Sasha von Scherler (the mother of director Daisy von Scherler Mayer), the spinoff series never stood a chance. Six episodes of the Fox series were filmed, but only four ever made it to air, as dissenting reviews and disappointing ratings flooded the trades. The series was quickly canceled, and the two remaining un-aired episodes have since been lost to time.
Party Girl Had a Complicated Critical Reception
Despite the title, it has never been sunshine and rainbows for Party Girl, as the film has always been a bit controversial in film critic circles. On online platforms, the recent critical reappraisal of the film is hugely reflected. The film currently boasts a wonderful 82% on Rotten Tomatoes’ Tomatometer, and a similar 75% from audiences, with this trend continuing on other movie-rating platforms. From Letterboxd to IMDb and beyond, glowing reviews discussing the film’s stellar depiction of post-grad ennui can be found, but it hasn’t always been that way.
Years before the critical reappraisal of Party Girl, there was a large and mighty group of dissenters who tore the film down from the heavens. As previously mentioned, the film was often branded with the «aimless» or «meandering» label, but even these critics acknowledge that this vibe, while not for them, is carefully curated. One of the most iconic critics of all time, Roger Ebert, saw Party Girl in a completely different light. Roger Ebert had scathing words about Daisy von Scherler Mayer’s 1995 film, and consistently called it disorganized, both on his program, At the Movies, and in writing on his website. Roger Ebert refused to mince words when he said:
«As for Mary, her life is disorganized, yes, but the script could nevertheless organize its approach to her, so that the audience wouldn’t feel as confused as she is most of the time. It’s a showcase leading role for Parker Posey (who had supporting roles in “Mixed Nuts,” “Dazed and Confused,” “Amateur” and “Sleep With Me“), who obviously has the stuff, and generates wacky charm. But the movie never pulls itself together.»
Earlier in the review, Ebert acknowledges that the film was crafted with love and admiration by Mayer and her co-writer Harry Birckmayer, but wholeheartedly believes that love and admiration wasn’t enough to carry it over the top. He gave the film a score of two stars out of four.
Despite the harsh words of the world-renowned critic, modern fans should still rush to check out Party Girl. The film features powerhouse performances from current stars like The White Lotus’ Parker Posey and always-charming Liev Schrieber, as well as a slew of other stellar ensemble additions. Viewed through a modern lens, and at the right time in one’s life, Party Girl is certain to not disappoint.
Party Girl may have had a rough start in 1995 and 1996, but like its lead character, Mary, it has found its footing after an arduous and unlikely uphill battle. This scrappy, low-budget indie film was destined for cult success from the moment it was released in cinemas, and has finally found an audience 30 years later. In an independent film landscape that is looking bleaker than ever, it is nice to remember that the best films sometimes take time to resurface. At the end of the night, Party Girl is a quirky and charming coming-of-age story that demands to be seen by anyone and everyone.
