Is
Hairspray a great movie? No, but it is a fun one, and that's all it really wants to be. With so many musical films that seem to exist simply for critical raves and Oscar nominations (I remember hearing Oscar buzz for
Dreamgirls almost a year before the film actually hit theaters...), this is a pleasant throw back to when musicals just wanted to be joyous and leave its audience walking out of the building happy.
Hairspray achieves this simple yet monumental task with its spirit, strong performances, and infectiously catchy songs. No one will ever mistake director Adam Shankman (
Cheaper by the Dozen 2,
The Pacifier) for making art here, but is that so wrong in the end?
Based on the smash Broadway stage musical, which itself was based on the 1988 cult film classic by John Waters,
Hairspray is the simple story of a heavy-set teenage girl named Tracy Turnblad (newcomer Nikki Blonsky) growing up in Baltimore in 1962. Tracy lives with her equally overweight mother, Edna (John Travolta in a fat suit and drag), and her caring father Wilbur (Christopher Walken), who always tells her that she can do anything she wants to. Tracy's dream is to be on the popular
American Bandstand-style music program, The Corny Collins Show, and dance with all the other popular kids that she sees on TV everyday. She gets her chance when an open audition is held on the show after one of the girls on the show is forced to take a "9 month leave of absence". Despite ridicule due to her size from some of the regulars on the show, including the popular favorite Amber Von Tussle (Brittany Snow) and Amber's mother Velma (Michelle Pfeiffer), Tracy quickly becomes a favorite on the show and may even get a chance to win the heart of a handsome young dancer named Link (Zac Efron from TV's
High School Musical). Tracy's popularity comes during a time when the winds of change are blowing. The show's monthly "Negro Day" is being threatened with removal from the Corny Collins line up. Tracy decides to use her fame to stand up for what she believes in, and supports the black people calling for integration on the program, even if it means she will lose popularity in the eyes of others.
Unlike this weekend's other major release,
I Now Pronounce You Chuck and Larry,
Hairspray knows how to handle the serious topic of tolerance without being preachy or without losing sight of what it really is. This movie is fun throughout, and manages to never take itself completely seriously without cheapening the message at the heart of the story. The key to its success is that its wonderfully silly while still managing to keep its feet on the ground so that we can identify with the characters. Tracy is a girl that only the most cynical of viewers could possibly hate, and is so optimistic without being hopelessly so that you almost want to pull her off the screen and hug her. Even when the plot starts dealing with heavier racial issues, Tracy is still at the center of it all, and the movie never lets her get lost in the story. The characters who surround her are wonderfully memorable as well. Tracy's parents, Wilbur and Edna, seem as different as can be (he's a free spirit who runs a joke and novelty shop, she's a somewhat uptight recluse who hasn't left the house in almost 10 years due to her weight problem), but their love for each other is genuine and sweet, which makes them both instantly likeable to us. Other notable characters include Motormouth Mabelle (Queen Latifah), who leads the protest against segregation on the program, and Tracy's best friend Penny Pingleton (Amanda Bynes), who is afraid to truly live life due to her overly strict Bible-thumping mother. The movie manages to juggle all of these diverse characters, and give them their own chance to shine in the story and with their own personal numbers, so that no one is ever neglected or left standing in the background.
This being a musical, it would be just plain wrong not to mention the songs, especially not songs as memorable as these. The score by Marc Shaiman (
South Park: Bigger, Longer, and Uncut) and Scott Wittman is one of the more memorable ones to hit the screen in a while. This is the first time in a while where I can remember almost every song in a musical film being truly memorable, and would probably qualify as being a showstopper in any other musical films. Things get off to a rousing start with the opening number, "Good Morning, Baltimore", where Tracy gives us a guided tour of her neighborhood, and introduces us to everyone, including "the flasher who lives next door" (played by John Waters in a brief cameo). Things only build from there, with other highlights including "The Nicest Kids in Town" (which introduces us to the Corny Collins kids), "Welcome to the Sixties" (where Tracy shows her mother the outside world, and how things have changed), "Timeless to Me" (a sweet love song between Tracy's parents), the stirring rally song of "I Know Where I've Been", and the showstopping finale "You Can't Stop the Beat". The songs are peppy and upbeat, but not without a knowing satirical edge, which makes them as funny as they are fun to listen to. The choreography during the musical numbers, which was provided by director Adam Shankman, is lively and often imaginative. It uses the magic of special effects to make certain musical numbers stand out in ways they couldn't on the stage. (A trio of women on a billboard come to life during one number, and provide back up vocals.) There are a few instances where the songs seem to come literally one after another with no dialogue or lead-in, which is usually a pet peeve of mine. But this time, it didn't bother me so much, because the songs are just that enjoyable.
The energy of the entire film itself is matched only by the energy of its cast. In the lead role, first-time actress Nikki Blonsky is a truly talented find. She is not only able to sell each and every song she has, but she's an immediately likeable presence that grabs your attention from the moment she jumps out of bed in the film's opening scene. I can only hope that Hollywood's fixation on skinny actresses does not sink her career before it has a chance to begin, because she is truly beautiful and earns the support of her audience. In the key supporting roles, John Travolta takes a little bit of getting used to and never quite owns the role as Tracy's mom like Harvey Fierstein did in the original Broadway cast, but he still manages to win us over in the end, especially during the moments he gets to share with Christopher Walken. It's nice that despite the fact the wife is played by a man, the movie treats their relationship seriously, and they are able to pull off a genuinely loving relationship together. Other standouts include Michelle Pfeiffer as the main antagonist, who fears the change that Tracy will bring with her radical views on integration, and Queen Latifah is powerful without being overbearing as Motormouth Mabelle. Elijah Kelley (
Take the Lead) also gets a couple choice moments as Seaweed, a black student at the high school who helps Tracy's best friend, Penny, overcome her personal fears brought on by her mother.
It's somewhat of a bold move for New Line Cinema to release
Hairspray in the middle of the summer blockbuster season, but in a way, it also fits. The film is as light as cotton candy, and as breezy as a summer afternoon. And yet, it still manages to hold our attention throughout thanks to its infectious energy and sharp sense of humor. Films as fun as this are a true rarity, and I can only hope that this film manages to find an audience. It may not be a movie that you'll remember strongly a year from now, but I can almost guarantee that you'll remember having a good time.
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Is Hairspray a great movie? No, but it is a fun one, and that's all it really wants to be. With so many musical films that seem to exist simply for critical raves and Oscar nominations (I remember hearing Oscar buzz for Dreamgirls almost a year before the film actually hit theaters...), this is a pleasant throw back to when musicals just wanted to be joyous and leave its audience walking out of the building happy. Hairspray achieves this simple yet monumental task with its spirit, strong performances, and infectiously catchy songs. No one will ever mistake director Adam Shankman (Cheaper by the Dozen 2, The Pacifier) for making art here, but is that so wrong in the end?
Based on the smash Broadway stage musical, which itself was based on the 1988 cult film classic by John Waters, Hairspray is the simple story of a heavy-set teenage girl named Tracy Turnblad (newcomer Nikki Blonsky) growing up in Baltimore in 1962. Tracy lives with her equally overweight mother, Edna (John Travolta in a fat suit and drag), and her caring father Wilbur (Christopher Walken), who always tells her that she can do anything she wants to. Tracy's dream is to be on the popular American Bandstand-style music program, The Corny Collins Show, and dance with all the other popular kids that she sees on TV everyday. She gets her chance when an open audition is held on the show after one of the girls on the show is forced to take a "9 month leave of absence". Despite ridicule due to her size from some of the regulars on the show, including the popular favorite Amber Von Tussle (Brittany Snow) and Amber's mother Velma (Michelle Pfeiffer), Tracy quickly becomes a favorite on the show and may even get a chance to win the heart of a handsome young dancer named Link (Zac Efron from TV's High School Musical). Tracy's popularity comes during a time when the winds of change are blowing. The show's monthly "Negro Day" is being threatened with removal from the Corny Collins line up. Tracy decides to use her fame to stand up for what she believes in, and supports the black people calling for integration on the program, even if it means she will lose popularity in the eyes of others.
Unlike this weekend's other major release, I Now Pronounce You Chuck and Larry, Hairspray knows how to handle the serious topic of tolerance without being preachy or without losing sight of what it really is. This movie is fun throughout, and manages to never take itself completely seriously without cheapening the message at the heart of the story. The key to its success is that its wonderfully silly while still managing to keep its feet on the ground so that we can identify with the characters. Tracy is a girl that only the most cynical of viewers could possibly hate, and is so optimistic without being hopelessly so that you almost want to pull her off the screen and hug her. Even when the plot starts dealing with heavier racial issues, Tracy is still at the center of it all, and the movie never lets her get lost in the story. The characters who surround her are wonderfully memorable as well. Tracy's parents, Wilbur and Edna, seem as different as can be (he's a free spirit who runs a joke and novelty shop, she's a somewhat uptight recluse who hasn't left the house in almost 10 years due to her weight problem), but their love for each other is genuine and sweet, which makes them both instantly likeable to us. Other notable characters include Motormouth Mabelle (Queen Latifah), who leads the protest against segregation on the program, and Tracy's best friend Penny Pingleton (Amanda Bynes), who is afraid to truly live life due to her overly strict Bible-thumping mother. The movie manages to juggle all of these diverse characters, and give them their own chance to shine in the story and with their own personal numbers, so that no one is ever neglected or left standing in the background.
This being a musical, it would be just plain wrong not to mention the songs, especially not songs as memorable as these. The score by Marc Shaiman (South Park: Bigger, Longer, and Uncut) and Scott Wittman is one of the more memorable ones to hit the screen in a while. This is the first time in a while where I can remember almost every song in a musical film being truly memorable, and would probably qualify as being a showstopper in any other musical films. Things get off to a rousing start with the opening number, "Good Morning, Baltimore", where Tracy gives us a guided tour of her neighborhood, and introduces us to everyone, including "the flasher who lives next door" (played by John Waters in a brief cameo). Things only build from there, with other highlights including "The Nicest Kids in Town" (which introduces us to the Corny Collins kids), "Welcome to the Sixties" (where Tracy shows her mother the outside world, and how things have changed), "Timeless to Me" (a sweet love song between Tracy's parents), the stirring rally song of "I Know Where I've Been", and the showstopping finale "You Can't Stop the Beat". The songs are peppy and upbeat, but not without a knowing satirical edge, which makes them as funny as they are fun to listen to. The choreography during the musical numbers, which was provided by director Adam Shankman, is lively and often imaginative. It uses the magic of special effects to make certain musical numbers stand out in ways they couldn't on the stage. (A trio of women on a billboard come to life during one number, and provide back up vocals.) There are a few instances where the songs seem to come literally one after another with no dialogue or lead-in, which is usually a pet peeve of mine. But this time, it didn't bother me so much, because the songs are just that enjoyable.
The energy of the entire film itself is matched only by the energy of its cast. In the lead role, first-time actress Nikki Blonsky is a truly talented find. She is not only able to sell each and every song she has, but she's an immediately likeable presence that grabs your attention from the moment she jumps out of bed in the film's opening scene. I can only hope that Hollywood's fixation on skinny actresses does not sink her career before it has a chance to begin, because she is truly beautiful and earns the support of her audience. In the key supporting roles, John Travolta takes a little bit of getting used to and never quite owns the role as Tracy's mom like Harvey Fierstein did in the original Broadway cast, but he still manages to win us over in the end, especially during the moments he gets to share with Christopher Walken. It's nice that despite the fact the wife is played by a man, the movie treats their relationship seriously, and they are able to pull off a genuinely loving relationship together. Other standouts include Michelle Pfeiffer as the main antagonist, who fears the change that Tracy will bring with her radical views on integration, and Queen Latifah is powerful without being overbearing as Motormouth Mabelle. Elijah Kelley (Take the Lead) also gets a couple choice moments as Seaweed, a black student at the high school who helps Tracy's best friend, Penny, overcome her personal fears brought on by her mother.
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