Quote:
John Waters made bad taste perversely transcendent with the forever shocking counterculture sensation Pink Flamingos, his most infamous and daring cinematic transgression. Outré diva Divine is iconic as the wanted criminal hiding out with her family of degenerates in a trailer outside Baltimore while reveling in her tabloid notoriety as the “Filthiest Person Alive.” When a pair of sociopaths (Mink Stole and David Lochary) with a habit of kidnapping women in order to impregnate them attempt to challenge her title, Divine resolves to show them and the world the true meaning of the word “filth.” Incest, cannibalism, shrimping, and film history’s most legendary gross-out ending—Waters and his merry band of Dreamlanders leave no taboo unsmashed in this gleefully subversive ode to outsiderhood, in which camp spectacle and pitch-black satire are wielded in an all-out assault on respectability.

+Commentary by John Waters (1997 Criterion Laserdisc)
+Commentary by John Waters (2001 DVD)

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The post John Waters – Pink Flamingos (1972) first appeared on Cinema of the World.

Quote:
A movie like Female Trouble (1974) could be most easily classified as a comedy, but that is selling it short. “Comedy” doesn’t capture the specific satiric edge, the desperate shout, the exaggerated depravity of this film. It’s a loud, abject, offensive, and joyful declaration of self-determination and identity in the face of a world that has no use for anyone outside the norm.

Characters like Dawn Davenport and company are so far outside of the realm of acceptability that they can only exist in response to such a restrictive, repressed society. Dawn is a violent, abusive, dangerously self absorbed wannabe celebrity, and she is enabled in her depravity and her penchant for crime and murder by other outcasts. This community of rejects comes together to celebrate her because she is so defiantly herself in the face of a culture that doesn’t want to pay attention to people like her. So she and those around her force people to pay attention and Dawn is the only one who is able to make it through without sacrificing who she is, whatever the results.

And the results are hilarious. Dawn, like the rest of the movie, is gaudy to a hysterical extreme, and much of that is owed to Divine’s central performance. Divine’s greatness cannot be overstated. The sneering smile, hoarse voice, and imposing figure of Divine have such a strong onscreen presence that Waters’ camera cannot look away. All these elements coalesce into an outrageous manifesto against the very concept of good taste.

Coming out shortly after the Stonewall Riots and the birth of the modern queer liberation movement, the early films of John Waters are shocking in their total rejection of the straight world. Rather than make respectable films about the noble struggles of being queer, John Waters seems more interested in marking out his own territory. The film is dirty in every way, from the sets to the content. No part of it fits what might conventionally be called beautiful. It’s a declaration of queer separatism. Waters is not interested in making movies that can be bought and sold and admired by his oppressors. Instead, he is shouting that they can keep their polite society because queers don’t want any part of it. We’re having too much fun being beautiful and depraved.

2.08GB | 1h 26m | 1024×432 | mkv

https://nitro.download/view/0A81F4906B40A8B/John_Waters_-_(1974)_Female_Trouble.mkv

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The post John Waters – Female Trouble (1974) first appeared on Cinema of the World.