Throughout his entire film career, Baltimore independent filmmaker John Waters has always been known for being the king of bad taste. From earlier films like “Mondo Trasho”, “Pink Flamingos”, and “Polyester” to more latter-day, accessible films like “Pecker”, and “Serial Mom”, Waters has become an enduring icon in independent films by taking on taboos and idiosyncrasy to the realm of comedy. In the 1970s, many of early films that also included “Multiple Maniacs”, “Desperate Living”, and “Female Trouble” were always given bad reviews from critics and more mainstream moviegoers. Over the years, the film endured the negative reviews and bad press to become cult classics as Waters was becoming an icon for independent films. After 1981’s “Polyester”, Waters took a break from filmmaking before returning in 1988 with his breakthrough film into the mainstream with the 1960s teen-dance comedy “Hairspray”.
“Hairspray” is often touted as Waters’ most accessible and probably his best film ever. While it doesn’t have the extreme, grotesque tone of “Pink Flamingos” and “Mondo Trasho”, the film does feature its quirky humor and idiosyncratic tone. The movie is a partial satire look at the old 1960s teen-dance shows where John Waters that has a new star, a plump teenage girl who out dances her peers and becomes a star while fighting for the integration of black and whites on the TV show. The film features two longtime veterans of John Waters’ films like Mink Stole and drag queen Divine, in his final film appearance, along with music legends like Ruth Brown, Debbie Harry, and the late Sonny Bono and then-newcomer Ricki Lake playing the role of the plump Tracy Turnblad. Written and directed by Waters, “Hairspray” takes a look at an old time where it was a good time to dance and have fun while standing up for your own beliefs.
The film begins with Tracy Turnblad (Ricki Lake) and her friend Penny Pingleton (Leslie Ann Powers) coming home from school to watch their favorite teen-dance show in Baltimore, the Corny Collins show that is hosted by the great Corny Collins (Shawn Thompson) and his production assistant Tammy (Mink Stole). Tracy and Penny love to watch the show and do all the current dance steps of the early 60s while idolizing over their favorite dancers including a young, Elvis-look-alike named Link Larkin (Michael St. Gerard) but they hated the b*tchy, egomaniacal Amber (Colleen Fitzpatrick). Tracy’s mother Edna (Divine) isn’t fond of the show or Tracy’s big dark hairdo while she told Penny that her mother called and she is being punished, again. Tracy’s father Wilbur though, understands that Tracy is trying to have a life but isn’t sure if the hair will get her anywhere.
After a taping of the show, Amber has a fit when she notices a pimple in her chin which is fixed by her pushy mother Velma (Debbie Harry) who makes her do all the dances to win the Miss Auto Show 1963 pageant while her politician father Franklin von Tussle (Sonny Bono) wants her to win while he is trying to deal with the growing demands of racial integration in the state. Tracy and Penny go to a dance event hosted by Corny Collins where Tracy steals the spotlight from everyone by doing the dances perfectly, impressing one of the judges, Motormouth Maybell (Ruth Brown). Tracy auditions for the show where she begins to steal the spotlight of Amber while winning the heart of Link. Tracy’s new hairdo, a blond dye on top of her dark hair, becomes more impressive as her parents decide to join in the fun and her mother is getting a makeover herself with the help of a fashion designer for plump women named Mr. Pinky (Alan J. Wendl).
Not everyone was happy about Tracy’s growing popularity including Amber, who is becoming jealous and the school forced Tracy to go to special education where she befriends a black student named Seaweed (Clayton Prince), who is the son of Motormouth Maybell. Penny falls for Seaweed as the two with Tracy and Link hang out at Seaweed’s area where they meet Motormouth Maybell and Tracy decides to help stop segregation on all stuff, including the Corny Collins show. The four also meet up with two crazy Beatniks (the Cars’ Ric Ocasek and Pia Zadora) and Penny, of course, is in trouble with her parents and is forced to go into shock therapy from a crazed doctor (John Waters). Tracy’s parents are quick to learn about the changing times as they accept the idea of integration and Edna Turnblad starts to quote lyrics by Bob Dylan about the changing times.
With the growing tension coming along, making things worse is a brash official named Arvin Hodgpile (Divine) who wants Collins to now film any blacks on the show but Collins wants to since he is a friend of Maybell. The tension increases as Amber and her parents try to get Tracy arrested and steal the spotlight but Tracy and her friends would find a way to endure the tension and make time for dancing.
John Waters’ quirky approach to mainstream comedy is unique with his brash script and direction as he helps capture the colorful tone of 1960s Baltimore through his own eyes while giving the audience time to have fun and even dance in the film. The dancing in the film is brilliant in its movement and nostalgic tone with the work of choreographer Edward Love as he gives early 60s dance fans something to be nostalgic about while introducing the old moves to a new generation. While not as edgy as Waters’ earlier films, “Hairspray” retained the eccentricities of his early films while making it cheerful and fun while placing an edge of those who want to stay away from John Waters.
Ricki Lake delivered a breakthrough performance as Tracy Turnblad as she captures the teenage innocence of a young girl wanting to standout and Lake even dances very well and stealing the spotlight. The supporting performances of Michael St. Gerard, Clayton Prince, and Leslie Ann Powers all feature their own moments while Colleen Fitzpatrick displays some excellence as the b*tchy Amber but for some reason, she hasn’t done much acting since for a brief bid for pop stardom as Vitamin C. Mink Stole and Shawn Thompson have their excellent moments although they were brief while Sonny Bono and Debbie Harry both played perfectly as the villainous von Tussles. Jerry Stiller delivers a masterful comedic performance in the film while Ruth Brown shines as the loud, fun Motormouth Maybell. Divine is the film’s best performance as the eccentric Edna Turnblad while he even goes into a male role as the villainous Hodgpile, which serves Divine’s reputation as an excellent actor, even though it was his final film role.
“Hairspray” was a surprise hit with fans and critics alike but for Waters it was bittersweet due to Divine’s death earlier in 1988, just prior to the release of the film. For Waters, he was finally getting accepted into Hollywood just as Divine was but Waters immediately would find his way to use his quirkiness to remain edgy. The 1990s saw more excellent films like 1990’s “Cry-Baby”, 1994’s “Serial Mom”, and 1998’s “Pecker” that helped put Waters’ reputation as an influential indie icon while paying tribute to his peers in 2000’s “Cecil B. Demented”. In 2003, “Hairspray” became a musical as it hit Broadway and became a surprise hit winning Tony awards as the film’s legacy now endured.
While not as strange as John Waters’ earlier work, “Hairspray” is a masterpiece with its approach to comedy and music. With amazing performances from Ricki Lake and the late Divine, “Hairspray” is an essential musical film with great old 60s dance moves, funny storylines, and nostalgic overtones. Fans of musicals will enjoy this film while it’s already an essential film to the likes of John Waters. “Hairspray” is easily the best and most accessible film John Waters ever made and it’s still a great achievement for a weirdo from Baltimore.
Cecil B. Demented (2000):
http://www.epinions.com/content_102795546244
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