John Waters
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It's conceptually comparable to John Waters's radically ridiculous Pink Flamingos in its programmatic desire to outrage, but, unlike Brüno, Pink Flamingos came from somewhere beyond the pale.
If I want broad, over-the-top stereotyping laced with genuine comic gold, I’ll dig into my DVD collection and throw on Pink Flamingos, or even better, John Waters’ brilliant deconstructionist camp classic Female Trouble.
The Greasy Strangler (2016)
Directed by Jim Hosking
influenced by Pink Flamingos (1972)
Visuals Themes
You think of the films that came to constitute the revered “midnight movie” canon—Eraserhead, El Topo, early John Waters, Pink Flamingos—while perhaps the most credible recent example, at least in terms of pushing the limits of watchability, is Harmony Korine’s Trash Humpers, of which Hosking’s film vaguely resembles a de luxe remake.
Not since the Pink Flamingos days of John Waters and his gutter-trash aesthetic has there been a more divisive carnival of filth, sick humour and depravity than director Jim Hosking's bad taste slasherama.
Pink Flamingos and Female Trouble are clear tonal touchstones, as are grubby '80s horrors like Basket Case and Maniac Cop.
Perfume: The Story of a Murderer (2006)
Directed by Tom Tykwer
influenced by Polyester (1981)
Themes
Perfume is easily the most nasally fixated movie to hit theaters since John Waters distributed "Odorama" scratch-and-sniff cards for Polyester, but here the olfactory theme is pursued with costumed gravitas and whispered awe.
Of the myriad high-cheekboned Calvin Klein models, the main trio consists of the blandly heroic Christopher (Tye Sheridan, “Ready Player One”), a manically glossy-eyed Zac (Fionn Whitehead, “Dunkirk”) and the dour Sela (Johnny Depp’s daughter, Lily-Rose Depp, who channels dad’s “Cry-Baby” sullenness here).
Para mí la decisión resulta no sólo brillante sino inevitable porque resalta la sordidez del medio que está capturando, mientras, por otra parte, establece su lugar dentro de la tradición de cine kitsch de directores como John Waters, que hizo comer a Divine una caca de perro para probar que era la chica más sucia en Flamencos rosas (Pink Flamingos, 1972).
Although part of a larger movement in 1970s American film culture that embraced the concept of “the midnight movie,” turning riotous amateur works like John Waters’s Pink Flamingos (1972), bizarre foreign art films like Alejandro Jodorowsky’s El Topo (1971), and off-beat studio experiments like The Rocky Horror Picture Show (1975) into must-see-multiple-times late-night phenomena, Eraserhead still stands apart, a fitting tribute to its indelible, yet fascinating and unforgettable weirdness.
The opposite of Korine's relatively posh, celeb-impersonator snooze, Mr. Lonely, Trash Humpers suggests a cretinous remake of John Water 's Pink Flamingos or perhaps a musical created by the brain-eaters from the original Night of the Living Dead —and, like Jack Smith 's Flaming Creatures, compounds its sins by pulverizing the rules of "normal" filmmaking.
Agente contrainteligente aspira a ser la comedia más repulsiva de todos los tiempos, con permiso de la ya insoslayable y prestigiada Pink Flamingos (1972): en ella se difama gratuitamente a personas reales, se incurre en ofensas de clase, raza y género, se sube la apuesta a la hora de transgredir tabúes de representación y, entre otras muchas cosas, se rompe la imagen de actores proverbialmente sofisticados, a golpe de chorros de semen paquidérmico o de insertos testiculares.
It’s as if the ethos of “ Pink Flamingos ” was filtered through a bad jag on crystal meth, with a lot of visual effects money thrown after it.
By embracing these Hollywood trappings, he foreshadowed his eventual move into the industry where he proved highly successful with "Hairspray," "Cry Baby," and "Serial Mom."
Focused on the backbiting world of a downscale, early-'60s "American Bandstand," this cheery tale of a plus-sized teenager who twists her way to the top while bringing racial integration to the airwaves certainly wasn't the assault on American sensibilities that Waters' earlier "Pink Flamingos" (1972) and "Female Trouble" (1974) were.
Back when prankish writer-director John Waters was shocking midnight-movie audiences by showing an obese transvestite devouring dog feces in Pink Flamingos, his 1988 movie Hairspray was almost unthinkable: How could Waters make a movie that the whole family could enjoy?
I've always suspected that John Waters made the original Hairspray in order to trick suburbanites into renting Pink Flamingos.
When John Waters made Hairspray back in 1988, he'd already thrown a dimmer switch on his patented "outrageous" quotient, considerably toning down the in-your-face satire and campy gay sensibility that brightened the likes of Polyester and Pink Flamingos.
The film reminded me of nothing less of John Waters' Pink Flamingos (1972), which I found nauseating the first and only time I tried to watch it.
That's what America believes," says John Waters (Pink Flamingos), who succinctly describes the dubious MPAA mindset.
We're talking more of the level of John Waters' early films like Pink Flamingos (1971).
Let's just say they try to outdo the spirit of John Waters's "Pink Flamingos."
John Waters (director of Pink Flamingos and the recent Pecker) has lavished praise upon Solondz and Happiness.
He would understand Ma to be a comedy of revenge (like his slatterns in Female Trouble ), while Taylor lags behind in Hollywood’s race-and-gender sweepstakes and directs for pathos.
John Waters (“Pink Flamingos”) knows this better than most.
Somebody noticed the show's proximity to Pink Flamingos, so John Waters materializes to help out with the magic.
An anthology film that calls itself Wild Tales can only truly deliver on its moniker by offering stories comparable to the insane likes of, say, Luis Buñuel's 1929 Un Chien Andalou (with that infamous eyeball-slicing scene), John Waters' 1970 Multiple Maniacs (featuring a character called The Puke Eater as well as the sight of a 15-foot-long lobster raping Divine) and David Lynch's 1977 Eraserhead (wild from first frame to last).
Mondo Cane, 1962, is the most known example (Waters entered the genre with Mondo Trasho).
With wider community acceptance of queer issues, Haynes knows audiences are less interested in the radical queer films of his past – such excellent works as Poison (1992) or Velvet Goldmine (1998) – rather, just like what legendary provocateur and fabulously queer Pink Flamingos director John Waters stated in ArtForum , “Maybe the only way to be transgressive these days is to be shockingly tasteful.”