Pink Flamingos (1972)
Directed by John Waters
Notorious Baltimore criminal and underground figure Divine goes up against Connie & Raymond Marble, a sleazy married couple who make a passionate attempt to humiliate her and seize her tabloid-given title as "The Filthiest Person Alive".
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What critics compared Pink Flamingos to
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.
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.
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.
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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.
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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).