A suburban housewife's world falls apart when she finds that her pornographer husband is serially unfaithful to her, her daughter is pregnant, and her son is suspected of being the foot-fetishist who's been breaking local women's feet.
Notorious Baltimore criminal and underground figure Divine goes up against a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
A talented young photographer, who enjoys snapping photos of his satirical, perverted Baltimore neighborhood and his wacky family, gets dragged into a world of pretentious artists from New York City and finds newfound fame.
A day in the lives of a hit-and-run driver and her victim, and the bizarre things that happen to them before and after they collide (sexual assault by a crazed foot-fetishist, visions of ... See full summary »
John Waters' first sixteen-millimetre film, about a deranged nanny who kidnaps young girls and forces them to 'model themselves to death' in front of her boyfriend and their crazed friends.... See full summary »
Francine Fishpaw is an upper middle class suburban housewife in Baltimore. Unfortunately, the money to support her lifestyle comes from her husband's porno theater, the neighbors are protesting, her son is a "stomper", her daughter is knocked up by a local hoodlum, and her husband is having an affair.Written by
Stephen J. LeBlanc <firstname.lastname@example.org>
During the credits, the title song "Polyester" describes the action seen on screen, leading the audience through a helicopter shot of the suburbs into Francine's house (commenting on its French Provincial decor) and upstairs to meet her. See more »
This was my first John Waters movie, and it opened with scratch and sniff cards. Each "spot" had a color and number and when the appropriate scene arrived we had the privilege of smelling what was on screen. Devine's character had an odor fetish and was constantly spraying air freshener, while a nefarious plot was instigated to drive her insane by planting offensively smelly things like gym sox, dead fish etc for her to find at home.
Her husband runs an adult cinema. Her son, based on the Baltimore Stomper, a true character, sniffs industrial solvents, stalks women with cute shoes and feet, and then stomps on them with his combat boots. The daughter, obviously the model for Christine Applegate's character in Married With Children, is the high school slut that dances on tables for quarters. And Mom worries about fresh scents.
With these subplots to the main plot, it should be obvious that plot resolution and character development are not the main attractions in a John Waters movie. The caricature of society and its stereotypes is his game, and the best moment of the movie has to be when the TV news camera is in the face of one of the Baltimore Stomper's victims as she is being carried to the ambulance on a strecher. The victim's on camera stream of obscene invectives against the callous media was one of the great moments of the movie because it was such a refreshing expression of the common person's real disgust and frustration with tabloid evening news and a culture that trivializes human suffering. Juxtapose a broken instep with the main character's insufferable pain of finding a smelly sock and you have the theme of this movie. Even the fairytale resolutions to the problems are a hilarious sendup of 80's America.
If you want to see what makes John Waters such a cult hero, but would find Female Trouble or Pink Flamingos too offensive, this was his first attempt to bridge the gap to the more accessible films he made later, while still having enough of the gross-out quality for a good laugh riot.
(Serial Mom will be on TV the weekend after Veteran's Day, and it is another very accessible glimpse into the mind of Mr. Waters.)
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