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 »
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 »
Notorious Baltimore criminal and underground figure Divine goes up against Connie & Raymond Marble, 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' 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>
A scene was filmed in which Concetta (Cookie Mueller) burst into the courtroom in an attempt to rescue Dawn Davenport ('Divine'). According to John Waters, the scene was "technically bad" (visible boom mic, light poles, etc.) and not included in any released version. See more »
When Taffy throws a tantrum and is taken to the bed in the attic, she reaches for the manacles although she is being restrained against her will. See more »
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 »
God bless John Waters. He's made some of the best, crudest feel-good movies, and this is one of his crowning achievements. It's amazing how his film, ugly-looking and full of lipstick-smeared freaks, can feel positive and upbeat; while he's mocking everything in sight, he doesn't stand back and protect himself with irony or winks -- he jumps right in there, and that involvement, that energy, is easy to see and feel. It's amazing that he can feature masturbation with needle-nose pliers, beating a child with a chair, a game of "car accident," and Divine literally screwing himself and not have it be off-putting.
The very idea that Waters uses a fat transvestite with a beehive hairdo to illustrate his scorn for school shows he's not so interested in subtlety. And Divine is awesome, as always, his prissy, gravely scream -- a freak you want on your side. This is one of Waters' best satirical attempts -- there are digs at hippies and Hare Krishnas, and two scenes in particular are very prophetic: the gay encouraging, and the killing for art. Waters even mocks his own shameless exhibitionism in the testimony of the Dashers. 9/10
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