The travelling sideshow 'Lady Divine's Cavalcade of Perversions' is actually a front for a group of psychotic kidnappers, with Lady Divine herself the most vicious and depraved of all - but...
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A day in the lives of a hit-and-run driver and her victim, and the bizarre things that happen to them before and after they collide (sexual assault by a crazed foot-fetishist, visions of ... See full summary »
A suburban housewife's world falls apart when her pornographer husband admits he's serially unfaithful to her, her daughter gets pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
Notorious Baltimore criminal and underground figure Divine goes up against a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
John Waters' first sixteen-millimetre film, about a deranged nanny who kidnaps young girls and forces them to 'model themselves to death' in front of her boyfriend and their crazed friends.... See full summary »
The life and times of Baltimore film maker and midnight movie pioneer, John Waters. Intercut with a 1972 interview of Waters are clips from his first films and recent interviews with his ... See full summary »
The travelling sideshow 'Lady Divine's Cavalcade of Perversions' is actually a front for a group of psychotic kidnappers, with Lady Divine herself the most vicious and depraved of all - but her life changes after she gets raped by a fifteen-foot lobster... Written by
Michael Brooke <firstname.lastname@example.org>
This film suffers from what a lot of low-budget-inexperienced-director films suffer from: long intervals in which nothing happens in an attempt to get to the better parts of the movie. This one has it is spades, which makes it hard to sit through to get to the highlights. But the high points are some of the most inspired of any John Water's flick: the surreal appearance of "The Emperor of Prague," played by small boy in full monarch regalia who guides Lady Divine, and the completely unsolicited cameo of "Lobstora," the enormous lobster prop who, like nearly everybody in the early films, has its way with Divine. I found these scenes far more interesting than the film as a whole, despite the (possibly unintentional) social commentary of the opening sequence. Here, a crowd of "straights" visit the Carnival of Perversions and witness horrors ranging from the "Puke Eater" to the "Homosexuals." Each attraction is viewed with similar disgust from the suburbanites, yet they make no effort to leave the show, which seems to call to Water's fascination with the American public's fascination with the fringe of society.
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