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.