When I watched the new 2007 version of "Hairspray," I always thought it was an anachronistic movie: a fat girl who doesn't want to go to school all day, just wants to participate in Baltimore's "Supergirl" - Coney Collins TV show, implicitly To treat black brothers equally, to encourage fat people to get out of the house, etc. These confrontations are all clichés, submerged in too sweet singing and dancing and too bright colors. The only excitement was that I saw John Waters. In the opening song of "Good Morning, Baltimore", a sneaky old man suddenly appeared, shivering and unbuttoning his coat in the street. Where is the sharpness in this licensed remake? Where is the absurdity? Maybe the 1988 one was contextual, a teenage recollection of John Waters: In the early 1960s, Jack and Jackie were still in the White House, student organizations were still brewing anger, the civil rights movement was simmering, Baltimore was filled with white teenagers like him who were occupied by black souls. At that time, John Waters was already openly gay, and was violently discriminated against. His inferiority complex turned into a talent, and his resistance was replaced by absurdity. It was not just a small face, but a personal temperament throughout. What came out was cold, rude but gorgeous The old version of Hairspray.
Maybe not to blame for the remake, who can learn the evil spirits of John Waters. His famous work "Pink Flamingo" is known as "the filthiest movie in the world", and a group of freaks compete for the title of "the filthiest person in the world" who hides fresh meat in their vaginas like chewing gum Eat shit, fuck on a cock...and "Women's Troubles", a fat woman who wants to be a supermodel, kills a bunch of people, eats a lot of brow brushes, dances on a trampoline, gets electrocuted by an electric chair . Even the most popular "Crying Fei" featured young Johnny Depp dressed as a crappy Elvis, singing and dancing in prison. But as time went on, John Waters abstracted, and those decent people who would vomit at the mention of him suddenly changed their tune: "Pink Flamingo" is considered an "American comedy film classic" at the Museum of Modern Art in New York collect. "Women's Troubles" is a liberal warrior swaggering before authority. "Crying Alfy", that is the gospel of Johnny Depp, he ran all the way through "Edward Scissorhands" and "Sweeney Todd" with a grotesque back and a sinister expression, all Johnny Depp fans All should face west and kowtow to John Waters.
Someone asked John Waters if you missed that wicked outburst of youth. "I never thought it was a better time, or a worse time," he said. "The last thing I want to remember is sexual liberation. You can't imagine people coming home and having sex with different people every day, but that's what they do. Yes! There's a pub in the city called 'Little Piggy', it's a hell of a mess, gay, straight, transvestite, the pub is on the outskirts, and people have to walk home, on the way to the cemetery . When I go to a bar in New York, I always think, thankfully those days will never come back, it ruined us, ruined everything, do you miss those days?" He was born into a Catholic family, deeply I love my parents, but I can't forget the humiliation it brought to them: their young son, whose body must have been occupied by a witch, was expelled from the "Catholic YMCA" for dancing indecent, knocking ███ and reading Freud's perverted psychology aloud He was treated as a freak in high school for studying theory, and was ordered to drop out of school for taking drugs as soon as he was admitted to New York University. How could they have imagined that this disgusting person would make a shocking movie, and that the boy next door, Harris Glenn-Milstein, who hung out in his son's bedroom all day, would become the most bizarre movie star of the 1970s and 1980s. This kid who crawled out of John Waters' bedroom later took the stage name "Deven", the "muse" of the film director, and the "heroine" of most movies. When Devine plays a man, he's mediocre, and when he finds his childhood playmate he glows eerily, or rather, they mirror each other. Therefore, John Waters is also compared with George Lucas, because they are both outside the galaxy, the former is Master Yoda, the latter is Devin. In 1988, Devine died in his sleep, and John Waters was no longer a poor boy who borrowed money to make movies. He could pull in big investments, and he was getting old. There was no masturbation in his later films. Shit or drugs, no '50s and '60s affectations, just glamour and sweetness, and he's as good as one would like to look down on today: "If you're shocked that the mainstream accepts my humor, then you should Watch more TV, it's a lot more vulgar than what I'm doing."
The Broadway version of "Crying Fei" has not yet been staged, and it has already raised a series of questions that no one can answer: Is John Waters, who was recruited by the mainstream, still a "bad dad in the rebel era"? Why is this director who claims to "do not seek any social compensation value" to be raised as a totem? How come the guys who slam the idol system are always idolized these days? John Waters didn't say a word, and the smarter-than-ghost man quickly learned about celebrity: as Tom Woolf always wears white, Anna Winter always wears big sunglasses, John Waters It opened the door to that deliberate and vulgar private life like a movie. His house is full of fake gadgets, fake flowers, fake food, fake pills, fake cats, fake babies lying in the bedroom with terrified eyes. He also has a fake wife, a middle-aged woman named Susan. She plays a small role in the filming, answering the phone to clean the room when she has nothing to do, and when a reporter comes to interview, he hugs him with pale hands He sat on Susan's shoulder and said in a weird voice to reporters who had long known that he was gay: "Introduction, this is my wife." He was holding the scary baby in his arms, wearing a bright pink suit, and the sapphire blue name spelling "JOHN" formed a more gorgeous color than "Hairspray". It is said that he maintained this attitude and said: "The most important thing in life is not to shoot What movie, but a laugh."
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