Hairspray

Those familiar the work of John Waters may know what to expect in Hairspray. Those who haven't been initiated into his depraved world may be surprised to learn that this was the first of his new line of films tamed, if not for the whole family, at least for mainstream audiences. The sheer campiness of Waters' earlier work isn't present here, but the film has not been homogenized to the point where it loses its tang.

Will ugly duckling hairhopper Tracy Turnblad snag Link Larkin and become queen of the Dance Council on the Corny Collins Show? Will Baltimore ever be the same if she does? Set in, 1962, this lighthearted movie built around a teenage dance show is like a trip to the malt shop; sweet, but gone in a slurp or two. While the more serious theme of integration is the back-story here, the story itself is less important here than the strong sense of place, character, and style presented by Waters. Never passing up the chance to offer up his native Baltimore to the camera gods, Waters has claimed Baltimore as his own. The clothing, set design and music are also remarkably in keeping with the time period, something we don't always see in a Waters film. The hefty budget also gave Waters the opportunity to finish the film more completely than most of his earlier works.

Hairspray is undeniably lighter than a bouffant, but Waters' weirdness shines through the screenplay. The principal characters are Tracy Turnblad, played surprisingly well by a pre-talk show Ricki Lake, and her loving stage mother Edna, played in the fullest flesh by Divine (a.k.a. Harris Glen Milstead), in his final performance. Divine also plays amusement park owner Arvin Hodgepile (we have seen Hodgepile before in Polyester). Debbie Harry does a decent turn as smarmy vixen Amber Von Tussle's pushy stage mother. Important cameo appearances include Sonny Bono as Franklin Von Tussle, and a bigger than life Ruth Brown as Motormouth Maybelle. Would a Waters movie be complete without Mink Stole? This time, she's the busybody assistant to Mr. Collins. Add a couple of cameos by Pia Zadora and Ric Ocasek and you have a solid cast. Lake manages to play her role with a refreshing lightness of touch, while Divine carries his weight with good humor. Divine is not the central feature here, but more of an amusing diversion.

As long as you keep this film in its proper perspective, it should be fine for just about any age group, though I doubt young children would be interested. There's none of the gratuitous nudity or language of a few of Waters' other films present here. Desperate Living this isn't.

Note This is not to be confused with the forthcoming release (2006) of the movie adaptation of the Broadway musical which was based upon this film.


Hairspray

John Waters
New Line Cinema

1988


This is part of Stephen Murray's Gay and Lesbian Culture Write-Off. Find out more about it here...

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