With ‘Hairsprays’ 35th Anniversairy upon us and its big return to cinema screens in celebration. How could I not get myself down to the local multiplex to check out what is likely to be the only John Waters movie im EVER going to see in an actual brick and mortar cinema.
Some people consider this film the ‘turning point’ for Waters as a film maker, his last ‘great hurrah’ as a film maker and the film that marked the end of his more raw and aggressive era of film making. While I feel it was a bit premature to mark THIS as his ‘last hurrah’ It must be said that ‘Hairspray’ is definitely something of a different beast to his earlier work.
A scathing commentary on segregation culture and a satirical and VERY tongue in cheek nostalgic look back to Waters own adolesence in the early 1960s. This films a total trip, but it doesnt stray *too* far away from the Waters format that won him a firm place in my heart as one of my all time favourite directors.
Following ‘Hair hopper’ turned champion of equality Tracy Turnblad, ‘Hairspray’ follows Tracy and her friend Penny as they pursue their love of dance via the Baltimore local dance TV programme ‘The Corny collins show’ Eventually winning over the hearts of the shows ‘Council’ and winning herself a place as a host on the show! But when mean girl Amber Von Tussle and her family start to feel like they’re being squeezed out of the limelight and a racist network owner Arvin Hodgepile enforces segregation at the hop. Its down to Tracy, Penny, her family and friends to turn Baltimore on its head and show the world the power of DANCE!
And while im really more of a fan of Waters ‘rogue’ years (His short films through to ‘Desperate Living’) this one, is probably the film I most enjoy from his post 70’s film making career. Theres a lot of Waters DNA in this thing from moments of apoplectic aggression, overly wordy insults and moments of pure shock and gross out. But rather than letting that run rampent, this film marries that up to some actually really solid lampooning of 60s culture, commentary on segregation, society and its all held together by a really well handled and sincerely funny little teen drama about following your dreams and standing up against injustice and meaness for the sake of meaness.
This is a very sincere film. Probably the most honest and sincere work Waters has ever produced. It has heart. The scripts genuinely funny, has a wonderfully acidic tone that gets in your face enough to give you the Water zeal, but not so much that its overbearing, its really solidly paced with easily some of Waters best (least sweary) written dialogue. It has a solid 3 act structure, it works through those act transitions seamlessly and very much strikes off in its own direction away from the ‘Grease’s and ‘Footlooses’ of the world.
If I was being a little bit picky. I know this is a dance centric production. I know its wrapped up in that early 60s scene. But I did find some of the dance scenes went on a little bit longer than I personally would have liked. I cant fault the choreography, but if ever there was a point I began to lull a little, it was the extended dance scenes.
Direction wise, its arguably some of Waters best. given Direction for Waters is more of a ‘Cast heavy’ affair, with actual visuals coming as an after thought of functionality. Its clear he’s learned a lot from his time in the studio system by this point, we have a film that OOZES early 60’s flare and looks DAMN good doing so. it’s hardly the most dynamic production in the world, but given that prior to the studio years, Waters was literally shooting on off cuts of 8 and 16mm film on whatever he could get his hands on…usually in the woods. and his previous studio efforts were solid, but a little on the flat side. This absolutley has a bit more life in it. Though still maybe falls a little bit short of well and truely embracing the audience.
Direction of the cast on the other hand? is PHENOMINAL. John’s always been good with people and here I feel he manages to not only pull out Divines best performance of her entire career, but gets an absolute show stopping set out of Ricki Lake, Ruth Brown, Debbie Harry, Jerry Stiller, Colleen Ann Fitzpatrick and Clayton Prince. The cast are positively supercharged as they bounce from scene to manic scene with sheer delight, and if the physical direction of the scenes were at times a little on the slow side. it absolutely CANNOT be said that the cast wernt raring to go the second they said action. High energy and simply wonderful. This really was a delight to sit through.
The cine is equally delightful, again I feel this is the perfect balance of John Waters work, taking high quality film making and basing the movie in the rougher parts of downtown Baltimore. It allows John to get a little nasty here and there, but it results in a film that takes what he’s been working on as a film maker for the prior 20 years and really get the absolute best out of it. A Balancing act he seemed to do a fair bit of soul searching to reclaim in the 90s.
But here, shots are set up nicely, theres plenty of b-roll to help keep scenes ticking over at a pace that can just about keep up with the actors. theres a wonderful use of garish and pastelle colours in REALLY trying to give this film that 60’s tint. For my money, it could have worked a little more with depth of field to help make the scenes feel a little more involved. A lot of this film looks VERY flat, whereas with just a little more consideration for the depth of the shot there probably could have been some truely wonderful takes in this thing.
Throw in an all 60s and late 50s all killer, no filler soundtrack AND arguably one of the best on screen cameos John Waters has ever done as a psychiatric doctor. And I’d be hard pressed to dislike this film, its just too well made, sincere and fun. One that often gets overlooked by myself honestly (shame on me) I really must watch ‘Hairspray’ more often. Its surprisingly refreshing even 35 years on.
TYTD Reviews 