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 »
A wealthy, fatherless British clan kidnaps bums and hippies and forces them to participate in an elaborate role-playing game in which they are the perfect family; those who refuse or attempt escape are ritualistically murdered.
A Baltimore sandwich shop employee becomes an overnight sensation when photographs he's taken of his weird family become the latest rage in the art world. The young man is called "Pecker" ... See full summary »
Three strippers seeking thrills encounter a young couple in the desert. After dispatching the boyfriend, they take the girl hostage and begin scheming on a crippled old man living with his ... See full summary »
John Waters' second film, shot on 8mm, and featuring Divine for the first time. Essentially a plotless collage of random incidents involving sex, drugs, religion and 'The Wizard of Oz', it ... See full summary »
The life and times of Dawn Davenport, showing her progress from loving schoolgirl to crazed mass murderer - all of which stems from her parents' refusal to buy her cha-cha heels for Christmas. She runs away from home, is raped, becomes a single mother, criminal and glamorous model before her inevitable rendezvous with the electric chair... Written by
Michael Brooke <email@example.com>
John Waters says an early working title was 'Rotten Mind, Rotten Face' but he feared this would only encourage critics to respond by calling it a 'rotten movie.' See more »
The word "chaplain" is misspelled "chaplin" in the closing credits. See more »
And remember my offer still stands. If you get tired of being a Hare Krishna, you come live with me and be a lesbian!
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For Charles Watson (the Manson Family member). Waters' prison visits to Watson inspired the "crime is beauty" theme of the film, and Waters used a toy wooden helicopter Watson made for him in the credits. See more »
Funnily enough, around the time that Divine sits in the crib with the pile of dead fish I started thinking about the words of the Bomb Squad's Hank Shocklee - "If they want noise, let's give them NOISE!" Yes, friends, Waters is the queer Public Enemy, tying identity to culture, cranking the most alienating elements of same to 11, and losing great chunks of his own demographic in the spectacular, chaotic process. This was made right off the midnight-movie success of "Pink Flamingos", and presumably this facilitated a budget, and presumably this led to the extra notch of competence that keeps the movie barreling forward from beginning to end - there's even an original theme song, plus thirty glorious seconds of Nervous Norvus singing "H-I-P". In most underground movies a scene featuring the lead actor, in two roles, raping himself for two full minutes - and THEN taking off his pants - would be the climax, not the inciting incident! And Edith "Flav" Massey yelling "NO I don't want any god damn eggs!" is an even better inversion than the new Bond's martini line. A triumphant cinematic masterpiece.
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