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>
The opening credits were done on shelving paper. See more »
When Lady Divine is attacked on the street by the two huffers, a shadow of the cameraman is clearly visible on the sidewalk and across the trio as they fight. See more »
Oh, Jesus, you're my first celebrity I ever gave a rosary job to! And at St. Cecilia's, oh, wow, imagine!
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From the 2016 BluRay: Restoration - The original 16 mm black-and-white reversal positive was scanned in 4K resolution at Metropolis Post in New York City. The original 16 mm monaural magnetic soundtrack was digitized in 96K 24-bit resolution at DJ Audio in Burbank, Ca. The digital picture and sound restoration was performed at The Criterion Collection in New York City, and supervised by John Waters See more »
The film was unreleased in the UK until the 1990 Castle video release, and this was then cut by almost 5 minutes by the BBFC to remove a closeup of a man's penis and to heavily edit a scene where rosary beads are inserted into Divine's rectum. See more »
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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