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Hedwig and the Angry Inch (2001)

R  |   |  Comedy, Drama, Music  |  31 August 2001 (USA)
7.8
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Ratings: 7.8/10 from 24,748 users   Metascore: 85/100
Reviews: 226 user | 106 critic | 29 from Metacritic.com

A transsexual punk-rock girl from East Berlin tours the U.S. with her band as she tells her life story and follows the former lover/band-mate who stole her songs.

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(book), (book), 1 more credit »
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Title: Hedwig and the Angry Inch (2001)

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Nominated for 1 Golden Globe. Another 29 wins & 30 nominations. See more awards »

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Cast

Cast overview, first billed only:
...
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Stephen Trask ...
Theodore Liscinski ...
...
...
...
Ben Mayer-Goodman ...
...
...
...
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Tommy's Publicist
Max Toulch ...
Goth Menses Boy
...
Ermes Blarasin ...
Fat Man
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Storyline

Hedwig, born a boy named Hansel in East Berlin, fell in love with an American G.I. and underwent a sex-change operation in order to marry him and flee to the West. Unfortunately, nothing worked out quite as it was supposed to - years later, Hedwig is leading her rock band on a tour of the U.S., telling her life story through a series of concerts at Bilgewater Inn seafood restaurants. Her tour dates coincide with those of arena-rock star Tommy Gnosis, a wide-eyed boy who once loved Hedwig... but then left with all her songs. Written by Anonymous

Plot Summary | Plot Synopsis

Taglines:

An anatomically incorrect rock odyssey

Genres:

Comedy | Drama | Music | Musical

Motion Picture Rating (MPAA)

Rated R for sexual content and language | See all certifications »

Parents Guide:

 »
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Details

Official Sites:

| |  »

Country:

Language:

|

Release Date:

31 August 2001 (USA)  »

Also Known As:

Cal do szczescia  »

Filming Locations:

 »

Box Office

Budget:

$6,000,000 (estimated)

Opening Weekend:

$156,724 (USA) (20 July 2001)

Gross:

$3,029,081 (USA) (28 September 2001)
 »

Company Credits

Production Co:

,  »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

| |

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

Unlike most musical films the films musical segments are only partly filmed on playback. John Cameron Mitchell didn't want to have to lip-sync the lines in the music so the band playing was recorded in studio, played back on set and sang live. His vocals were recorded and then mixed later on with the recording of the band, making it sound like they too were performing live. However, on the soundtrack, the vocals were mixed to sound as if they were recorded in a studio as opposed to on set. See more »

Goofs

On the poster advertising for auditions for a production of Rent, the character of Collins is described as 'Young, Edgy, Black, Aspiring Musician.' However, Collins is actually a philosophy professor. The 'aspiring musician' of Rent is Roger. See more »

Quotes

Hedwig: After my divorce from Luther I scraped by with baby-sitting gigs and odd jobs - mostly the jobs we call blow. I had lost my job at the base PX, and I had lost my gag reflex. You do the math.
See more »

Connections

Featured in The 100 Greatest Musicals (2003) See more »

Soundtracks

Freaks
Written by Stephen Trask
Performed by Stephen Trask & Girls Against Boys
Girls Against Boys appear courtesy of Geffen Records
See more »

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User Reviews

 
I could never hope to praise this enough: 10/10
5 November 2001 | by (Saint Paul, MN) – See all my reviews

No matter how much I do praise it, I'll end up turning people against it. But, let me ask you: what were you expecting when you first heard of Hedwig and the Angry Inch? It's been billed as a punk rock musical about a transsexual from East Germany who was duped into coming to live in a trailer park in Kansas City. So what was I expecting? A gay camp film. I had no doubts that it would be anything else. And that's not to say that I wouldn't have enjoyed a gay camp movie. After all, I liked Moulin Rouge. But I got a surprise that was entirely unexpected: what I experienced was the best new film I had seen in years. And I mean that. Hedwig and the Angry Inch is equally hilarious and touching. Not that I want to spread cliches, but I seriously laughed and I seriously cried, often simultaneously. This manages to be the best American comedy since, damn, Preston Sturges was still writing and directing. It's easily the best movie musical since Cabaret. It's also one of the most heartfelt and passionate dramas, and one of the best character studies I've ever seen. Along with that, John Cameron Mitchell delivers a performance that perhaps hasn't been equalled since, I don't know, Robert DeNiro in Raging Bull, which might be the ultimate cinematic character study. I shouldn't say that, because it might hint that Hedwig is a dark character, but, well, I'd call her just a great protagonist. She's a heroine, especially to anyone experiencing sexual confusion, but even to me, a straight, Midwestern boy. Hedwig is a heroine for anyone who's ever felt that they've been treated like crap their entire life. I wanted to clap for and support Hedwig emotionally throughout the entire film. In short, Hedwig is a character I deeply loved, equal to just a few other characters I've met throughout my extensive journeys in the cinema. Parallel to a situation in the film, if I should ever see John Cameron Mitchell on the street, I'd have to hug him.

I also have another heap of praise that I have to go through before I am done. I've always thought that movie musicals adapted from stage plays were the death of the genre. Only a few exceptions ever seemed more than unimaginative, slavish films that worked only to bring Broadway to an audience who could or would never visit NYC. Cabaret was the one big exception that I had seen previously, but you also hear West Side Story mentioned as being a great film. But, in adapting a stage play for the screen, I always expect the film to seem stranded on stage. To boot, Hedwig had another mark against it: the director, Mitchell again, had never directed a film before. Well, I really don't know what training he had in the art, but it must have been enough. The cinematic art, at least the visual aspect of it, has nearly been forgotten in the 1990s and 2000s, but John Cameron Mitchell creates a visual tour de force as much as he does one of writing and acting. I love the scene where Hedwig the adult reminisces about how his mother forced him to put his head in the oven if he wanted to sing when he was a child. And Hedwig and the Angry Inch's (that's the band's name as well as the film's) appearance outside the Menses Festival next to the port-o-potties. A goth chick, who presumably didn't have tickets for the actual Menses Festival, watches the band in deep curiosity and confusion; Hedwig invites the girl to sit up on stage with her while she relates her past. I also love the sequence where the American G.I. discovers him laying naked in rubble. Hedwig's original name was Hansel, which leads to one of the funniest jokes I can ever recall seeing. Or how about the scene where Hedwig, when babysitting, discovers Tommy, the future rock star who steals all her songs, masturbating in the bath tub? That scene is handled so well that I almost died laughing. To tell you the truth, I don't think there is anything ostensibly wrong with the film, period. I just wanted to talk about the amazing direction because the one review of it I have on hand says "the direction can't help from being flat." FLAT? How can you say that it is flat? PS: The animated number and the song that goes along with it is adapted from Aristophanes' speech in Plato's Symposium, about which I wrote my senior thesis in college. The rock star's stage name, Gnosis, is Ancient Greek for "knowledge," which Hedwig actually says in the film. One of the filmmakers must have learned Ancient Greek at some point in his life. Bravo, good sirs.


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