John Waters's film Hairspray is such a cult classic, and one of his most mainstream films, especially after his run of shock comedies; ala Pink Flamingos. Behind all the satire and Baltimore bashing in Waters's original, there resided a commentary on racism, set behind the battle of integration and segregation. Director Adam Shankman and Co. brings the Broadway production, based upon Waters's version, with all the glitz, glamour and sparkling shimmer. Hairspray though doesn't stray into rehash territory, unlike many other remakes. While based more on the Broadway production, Hairspray is a re-envision on it's original counterpart; an element many remakes miss. Shankman's update may be Hollywoodnised, and glazed covered candy with an extra serving of sweetness, Waters's satire nowhere to be seen, yet a remainder of tongue firmly in cheek in his brief cameo. Screenwriter Leslie Dixon, while dropping all satire, has no problem sinking the teeth in with hard biting, forked tongued humour, making Hairspray a delightful treat. Along with cameos from Ricki Lake and Jerry Stiller, and homage in Tracy's final dress.
As with any musical, the defining factor is the music and dance numbers. Choreographed by director Shankman; who pulls off two major feats, after a run of very ill decided, and plain awful films, constructs the most energetic and exuberant atmosphere. On Shankman's part, this is a real surprise, and a welcomed one at that. All songs hook and reel you in, right from the opening number "Good Morning Baltimore", Hairspray grabs you. All the dances are constructed and executed with such mirth and spirit, embodying the era of the early sixties, along with costumes and reconstruction of sixties Baltimore.
Pelting out every tune, Hairspray has an exceptional cast. In her debut role, Nikki Blonsky shines and sits as the sweet core of this film as Tracy Turnblad. Zac Efron has charm and grace as Link. Yet this is an all round affair. Even this late in his career, John Travolta marks a career defining role as Edna. Never sending up Devine, who played Edna in the original, Travolta embodies this woman and weight, stealing every single scene he's in. And he can still sing and dance. Michelle Pfeiffer is magnificently bitchy as Velma Von Tussle and a surprise singer. Even with minimal screen time, both Christopher Walken and James Marsden mark their presence strongly. Queen Latifah hasn't been this wonderful since Chicago. Even with her few scenes, Allison Janney is a small treat.
While Waters's Hairspray is endearing and the penultimate version, Shankman's new Hairspray stands solely by its self, and another fine example that the musical will always live on.
As with any musical, the defining factor is the music and dance numbers. Choreographed by director Shankman; who pulls off two major feats, after a run of very ill decided, and plain awful films, constructs the most energetic and exuberant atmosphere. On Shankman's part, this is a real surprise, and a welcomed one at that. All songs hook and reel you in, right from the opening number "Good Morning Baltimore", Hairspray grabs you. All the dances are constructed and executed with such mirth and spirit, embodying the era of the early sixties, along with costumes and reconstruction of sixties Baltimore.
Pelting out every tune, Hairspray has an exceptional cast. In her debut role, Nikki Blonsky shines and sits as the sweet core of this film as Tracy Turnblad. Zac Efron has charm and grace as Link. Yet this is an all round affair. Even this late in his career, John Travolta marks a career defining role as Edna. Never sending up Devine, who played Edna in the original, Travolta embodies this woman and weight, stealing every single scene he's in. And he can still sing and dance. Michelle Pfeiffer is magnificently bitchy as Velma Von Tussle and a surprise singer. Even with minimal screen time, both Christopher Walken and James Marsden mark their presence strongly. Queen Latifah hasn't been this wonderful since Chicago. Even with her few scenes, Allison Janney is a small treat.
While Waters's Hairspray is endearing and the penultimate version, Shankman's new Hairspray stands solely by its self, and another fine example that the musical will always live on.