John amniotic fluid is a true auteur. He parts many an(prenominal) of the homogeneous themes and images throughout his films. The John water films that I viewed were Hairspray (1988), Cry-Baby (1990), companion mummy (1994), and Cecil B. sore (2000). Consistent themes in these films included the use of the same actors, Waters turn in for scandal ridden celebrities, all were dictated in Baltimore, comedic portrayals of sex, outcasts, altercations with the police, and a fracture of a mouse, rat or gerbil. Hairspray is the story of Tracy Turnblatt, a plump hair hopper in 1960s Baltimore. Waters uses many of his stock actors in this characterization, swing out queen, elysian in the twofold role of Tracys mother and the television system station owner that runs The platitudinal collins Show, Mink take as Tracys best friends mother, Alan J. Wendl as Hefty Hideaway stock owner, Mr. Pinky and starring as Tracy Turnblatt, Waters muse, the incomparable Ricki Lake. With the exception of Divine who died shortly after this movie was made, all of these actors appear in all four of these films. Tracy longs to be on The Corny Collins Show, Baltimores poor mans version of American Bandstand. Through luck, fate and unmixed chutzpah, she makes it onto the show, becomes a council member and in time steals the cutest boy on the show away from the most common girl in all of Baltimore.
According to Curry, Hairspray is a musical theater frivolity film about desegregation in Baltimore during the earliest 1960s. Waters revives the turbulent times as a setting to a television dance show ph enomenon. (Curry, 1996) The expected Waters ! gustation for media celebrities, past and present, pops up here and there in Cry-Baby with cameos by David Nelson, Patty Hearst, who shows up again in Serial Mom and Cecil B. Demented, Joey Heatherton, Troy Donahue, Iggy... If you want to get a undecomposed essay, set up it on our website:
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