When her brother decides to ditch for a couple weeks in London, Viola heads over to his elite boarding school, disguises herself as him, and proceeds to fall for one of her soccer teammates. Little does she realize she's not the only one with romantic troubles, as she, as he, gets in the middle of a series of intermingled love affairs.
About a guy whose life didn't quite turn out how he wanted it to and wishes he could go back to high school and change it. He wakes up one day and is seventeen again and gets the chance to rewrite his life.
Tracy Turnblad, an overweight teenager with all the right moves, is obsessed with the Corny Collins Show. Every day after school, she and her best friend Penny run home to watch the show and drool over the hot Link Larkin, much to Tracy's mother Edna's dismay. After one of the stars of the show leaves, Corny Collins holds auditions to see who will be the next person on the Corny Collins show. With all of the help of her friend Seaweed, Tracy makes it on the show, angering the evil dance queen Amber Von Tussle and her mother Velma. Tracy then decides that it's not fair that the black kids can only dance on the Corny Collins Show once a month, and with the help of Seaweed, Link, Penny, Motormouth Maybelle, her father and Edna, she's going to integrate the show.....without denting her 'do! Written by
The creative team modified several songs from the Original Broadway production, removed others, and added some new songs. "Mama, I'm a Big Girl Now", a number performed in the stage musical by Tracy, Penny, and Amber opposite their respective mothers, was reluctantly cut from the script during pre-production - but was sung over the credits by all three "original" Tracys (Ricki Lake, Marissa Jaret Winokur, and Nikki Blonsky). While the crew liked the song, screenwriter Leslie Dixon felt the number did not adequately advance the plot, and would also be impossible to film without a three-way split screen, which neither she nor director Adam Shankman wanted to use. "It Takes Two", sung in the stage musical by Link to Tracy during her first day on "The Corny Collins Show", was moved to an earlier scene in the film; Link sings it just before Tracy learns that the TV station will be holding auditions for a new Council Member. However, only the song's coda remains in the final release. "Cooties", performed by Amber at the climactic "Miss Teenage Hairspray" pageant in the stage musical, is an instrumental during the pageant contestants' dance-off. "Mama" and "It Takes Two" are also instrumentals during scenes featuring broadcasts of "The Corny Collins Show". A reprise of "Big, Blond, and Beautiful", sung by Velma and Edna, was added to the film as part of a new subplot involving Velma Von Tussle's attempt to seduce Tracy's father Wilbur. "I Can Wait", a climactic ballad written for the film, was to have been performed by Tracy as she is hiding out in Penny's basement. The sequence was cut from the final release print. "The New Girl in Town" was written for the stage musical, dropped during the workshopping stage, resurrected, and used in this film to underscore Tracy's rise-to-fame montage, and to show "The Corny Collins Show" on Negro Day. "Ladies' Choice", performed by Link at a school dance, was added to replace "The Madison", a dance number carried over into the stage musical from Hairspray (1988). "Come So Far (Got So Far to Go)" was written for the film for use during the closing credits. See more »
During the initial song "Good morning, Baltimore", Tracy is walking on the street. She stops while singing and on the bottom right is the back of a Cadillac. The 1963-style tail fin and 2 square lights below it are visible. See more »
Oh, oh, oh, woke up today, feeling the way I always do. Oh, oh, oh, hungry for something that I can't eat. Then I hear that beat. That rhythm of town starts calling me down. It's like a message from high above. Oh, oh, oh, pulling me out to the smiles and the streets that I love. Good morning, Baltimore!
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Not that I'm surprised that I liked it but yes that I liked it as much as I did. Keeping some of the lovely John Water garishness but mainstreaming it enough to make it mainstream. John Travolta in the Divine part is truly divine. He went for it and played it for real. I thought it was actually moving at times and the illusion works, beautifully. Michelle Pfeiffer opening a new chapter in her career, the thin as a rail, gorgeous, middle age bitch. Great fun to watch. Christopher Walken, adorable. I had hoped a bigger splash of a dance number between Travolta and Walken - after all they were playing husband and wife in a musical and when are we going to see that again. Their moments together are, how can I put it? Nice, very nice. Nikki Blonsky inherits Riki Lake's oversize heroine with gusto and lots of energy. Allison Jenney, as usual, steals every moment she's in. Alas, far too few, and John Waters plays a quick cameo as a Baltimore flasher. What else do you want out of life.
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