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 »
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.
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 »
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.
Disappointing. All talking heads. Too John Waters heavy
This documentary seems to be more about how John Waters supposedly shaped the career of Divine, than about Divine herself. We see lots of talking heads from the Waters camp and their anecdotes about working and living with Divine. Waters himself comes across as a bit envious, taking digs at Divine, with that glib smug smirk of his. I don't think he ever got over the fact that Divine, made his career, and not vice versa. Surprisingly, Ricki Lake comes across as rather unpleasant when talking about Divine, too. Mink Stole expresses genuine kindness for Divine on a personal level (she's adorable). For good, or for bad, their interviews make it all the more obvious that the only true film star / pop icon amongst them was Divine.
The film has a bit of television show feel about it. For my personal liking, there are too many clips from the Waters films, that Divine fans have probably seen a hundred times over. It takes up precious time that could have been dedicated to revealing something so far not seen or known about Divine. Everything is of course spiralling towards the "eat dog poo on camera" landmark moment. And of course, all credit for this "master stroke of genius" goes towards Waters (biased very much).
I was very much expecting the singing career part of Divine to be elaborated upon, as to me it was her natural progression from her film work, where her Drag persona was further polished. But that part of her life is severely neglected in this documentary. In Europe, Divine is more so known for her music than her films. Her television performances on pop chart shows were on a par with some of the best of 80s music videos (dare I say far superior to the Waters movies). But there is not much evidence of that in this documentary.
Probably there was only enough money to pay for the Waters camp to have a natter about the film years, and it's a wrap. Ready for the LGBT film festival circuit, and ready to be applauded by all the gullible fools who merely need an easy saccharine nostalgia fix. That's the unsatisfied feeling I was left with after watching it.
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