Not everyone is familiar with the Broadway play Hairspray or the 1988 John Waters (This Filthy World) film and those unsuspecting audience members won’t necessarily know what to expect going into this film. What a pleasant surprise then Hairspray will be for them. Hairspray is one of the funniest films this year, its music is lively and upbeat, and it’s an enjoyable ride.
The story is set in Baltimore circa 1962 – how refreshing to see Baltimore referenced without mention of drugs/crime/shipping – where overweight dance enthusiast Tracy Turnblad (newcomer Nikki Blonsky) desperately wants to dance on the Corny Collins Show – think Baltimore’s Dick Clark and American Bandstand. The black students at her school echo her desire, which leads to the film’s social commentary.
Director-choreographer Adam Shankman, (The Pacifier) whose previous disappointing work speaks for itself, actually does a pretty solid job with Hairspray – particularly with the snappy choreography. But he still can’t hold a candle to the virtuoso work of Bill Condon (Kinsey) in last year’s Dreamgirls. Condon made Dreamgirls do what a good movie musical should do; he used the added powers of film to expand the world of the musical off the stage. Shankman is much more basic – the visuals feel very stage-bound for much of the film – though the traveling-set musical numbers towards the end show improvement.
Hairspray’s humor is raunchy and subversive, probably Waters’ input. The film’s clean jokes will appeal to younger audiences, while the older crowd will catch the subtlety of the dirtier jokes. What makes the movie so funny – and was the driving force behind Waters’ version – is how the raunchiness of the jokes is so clearly contrasted with the squeaky-clean world they are placed in.
The casting of the film is magnificent. Blonsky is endearingly spunky and energetic, particularly so when she dances. John Travolta (Wild Hogs) is absolutely hilarious as Tracy’s mom, Edna Turnblad. Travolta’s casting is a good choice, as the audience will all know its him under that dress. And the former Greaser really goes for it – he is the girliest girl in this movie, making every line he says funny.
Also very good here are Amanda Bynes (She’s the Man) – her typical over-silliness is perfectly appropriate here within Tracy’s friend Penny – and Christopher Walken (Man of the Year), who gets to put his dancing skills (remember Fatboy Slim’s music video “Weapon of Choice”?) and oddball manner to good use as Tracy’s dad, joke-shop owner Wilbur Turnblad. Thrown into the mix is the soulful Queen Latifa as Motormouth Maybelle, the host of the “Negro Day” portion of the Corny Collins Show.
The film’s racial commentary is simplistic and not belabored – it’s a pretty straightforward message delivered in a straightforward way. Dreamgirls had more powerful racial commentary in one scene then this film does in its entirety, but it’s so fun and happy-go-lucky you won’t care.
Also missing are the powerful emotions elicited by Dreamgirls as well as its transcendent vocal moments. Granted, this film is pretty much a straight comedy, but it does seem like they are trying to seriously move the audience at a few points (though only briefly interrupting the constant stream of humor and great music). Also the vocals are sound dubbed and we never get an applause-inducing vocal moment. This film isn’t a vocal showcase for anyone.
Even though it has some flaws, Hairspray is a crowd-pleaser, its massively funny, the performances are excellent and most of all, it dares you not to smile.
Contact reporter
Dan Benamor at
diversions@dbk.umd.edu.
