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Hairspray (2007) New Line
Cinema , 1 hr. 46 mins.
Starring:
John Travolta, Nikki Blonsky, Christopher Walken, Michelle Pfeiffer, Queen
Latifah, Zach Efron, Amanda Bynes, Allison Janney, Ellijah Kelley,
Brittany Snow, James Marsden
Directed by:
Adam Shankman |
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Some could say that the movie
musical genre is the cinematic version of an endangered species.
Thankfully, director Adam Shankman squashes that notion courtesy of his
refreshingly jubilant spin on filmmaker John Waters’ classic
tongue-in-cheek tune-maker Hairspray. In a busy summer where ruling big
budget buddy-buddy actioners and indistinguishable blood-drenched shock
cinema exists with competitive confidence, the bouncy and candy-coated
Hairspray bursts with vibrant musical energy. Clearly, Shankman’s festive,
finger-snapping sing-a-long is one of the most enjoyable movies of the
summer if not the entire year!
Actually, Hairspray comes along just as the movie musical is maintaining
signs of continued exuberance. With recent Oscar-coated favorites such as
Chicago and Dreamgirls capturing the moviegoers’ imaginations, Shankman
delivers a cheeky gem that features a potent combination of stylized
silliness, whimsy, nostalgia, and infectious lyrical bits. Interestingly,
the preachy attempt in commenting about social tolerance was slightly
risky in its obviousness. However, this catchy concoction of musical
musings, feverish dance steps and freaky frivolity all set against the
60’s spotlight during Baltimore’s introduction to the Civil Rights
movement has its momentum and measure of sanctimony. Still, the top-notch
casting and the film’s spirited pizzazz help propel Hairspray as a peppy
ode to retro-artistic sentimentality.
Based on both the John Waters’ (look for the eccentric filmmaker in the
rousing opening sequence as a middle-aged flasher) 1988 movie and 2002
Broadway hit-maker that followed Hairspray immediately has the audience
furiously tapping their toes. The setting is circa 1962 and we’re
introduced to cute and chubby Tracy Turnblad (newcomer Nikki Blonsky) as
she enthusiastically sings the giddy number “Good Morning, Baltimore”
reminding us of what’s in store for this kinetic, nifty narrative. Tracy,
despite her puffy physicality, is upbeat and positive and is a faithful
fan of the local touted teen talent show for which she plans to eventually
dance on given the golden opportunity. Her mismatched parents (John
Travolta in fat suit drag galore and the impish Christopher Walken) are
supportive of Tracy. She even has a close best friend (Amanda Bynes) that
has her back and shares her interest in the neighborhood “American
Bandstand” knockoff program.
When Tracy gets up the nerve to audition for the dance show emceed by a
Dick Clark prototype named Corky (James Marsden), she realizes her other
dream—to rub shoulders with the program’s resident heartthrob (played by
teen sensation Zach Efron from Disney Channel’s “High School Musical 2”).
Tracy’s obstacle of sorts is the snobbish and shrewd station manager
(Michelle Pfeiffer) that considers our sweet hefty heroine a physical
laughingstock. In addition, Tracy is a talented threat to her
self-centered and royally spoiled daughter (Brittany Snow) whose
nepotism—a built-in benefit—is the main reason why this privileged girl is
feared on the set in the first place.
Feeling self-conscious by the snooty station manager’s rejection of her,
Tracy soon finds an ally in an outspoken black record-store owner (Queen
Latifah) and her two children. Instantly Tracy finds an emotional
connection with Baltimore’s segregated black community. Hence, she knows
what it feels like to be ostracized “for being different”. Thus, Tracy
embraces the burden of her black associates’ cause therefore sacrificing
her localized celebrity from the talent showcase that made her a
recognized star—much to the chagrin of her worried, reserved weirdly
oval-shaped mother.
Can Tracy’s social activism (which leads to her being a fugitive on the
run) convince all of Baltimore’s citizens to accept each other’s
differences and co-exist peacefully? Will Pfeiffer’s conniving “den
mother’s” sinister plan to exploit Tracy’s notorious reputation and ruin
her parents’ marital status be enough to prevent her from snatching the
“Miss Hairspray” title from her pampered offspring? Also, will Tracy land
the man of her wild fantasies in the likes of Efron’s doe-eyed dreamboy?
Will Tracy’s black comrades “overcome” the racial strife and could she be
comfortable being in her “plus size mode” without feeling inadequate or
mocked?
Although not as high caliber in its campy confines in comparison to the
previous predecessors, Shankman’s (“The Wedding Singer”) version of this
saucy slice of frolicking show-and-tell is wickedly witty in its own
cheesy, robust way. The performances are pithy and oddly profound and the
songs are quite poignant and pronounced (look for Latifah’s soulful touch
on a heart-wrenching ditty that echoes the meaningful mood of the
candlelight boycott marching sequence which is very riveting). Overall,
this broad and boisterous undertaking by Shankman is wondrous in a
pleasing fluffy spectacle that sets the stage for its inspired infusion of
wackiness and pathos.
As the crusading Tracy, 18-year old Blonsky is absolutely terrific and she
exudes a wide-eyed appreciation for a determined teen that’s flawed yet
cheery and optimistic in forethought. She may never let anyone forget
Rikki Lake’s memorable take on the role anytime soon (incidentally, Lake
makes a wordless cameo appearance) but she eagerly makes this part her own
with noted spryness. Blonsky’s voice is tremendous and every time she’s on
the screen you wish for more from this pretty doughy-built diva.
Surprisingly, Travolta’s gimmicky turn as Tracy’s sheepish mother is
nicely done from a quirky standpoint and you feel rather bizarrely moved
as he works marvelously with his former Pulp Fiction co-star Walken in
their perky song-and-dance romance routines. Pfeiffer’s dour station
manager is the epitome of a deliciously stuck-up sourpuss. Emmy-winner
Allison Janney (late from TV’s “The West Wing”) is a riot as Bynes’
close-minded Bible-thumping spinster mother. Alas, the supporting roles by
current teen scene icons Efron, Bynes, Marsden, Snow and Ellijah Kelley
(as Latifah’s son who’s interracially involved with Bynes’ smitten
character) are instrumental to the uplifting tone of the film’s youthful
pumped-up personality.
It’s merely simplistic to say that Hairspray was indeed a fun time at the
movies. So what the heck...for what it’s worth, Hairspray was DEFINITELY a
fun and favorable time at the movies! |
