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“I say to them: ‘Just think, this might be the last night you ever go out’,” he offers, that smirk back in his voice. After years of lockdown, which Waters found “boring and endless”, he’s thrilled to be back in front of audiences.
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I’m not saying Hairspray was revolutionary, but it was about a revolutionary time that I remember very fondly. “It takes everybody to have a revolution. There were white people in the freedom fighters,” argues Waters. “Well, there were white people in Black Lives Matter. It has however been criticised in some quarters for its supposed “white saviour” narrative. The success of Hairspray brought with it mainstream notoriety, and Waters has made, in his words, “more money from that than anything I did in my life”. That’s much more radical than preaching to the converted, which maybe Pink Flamingos is.” “Two men are singing love songs to each other in grade school during that musical right now. “In a way, it’s much more perverse than Pink Flamingos because it snuck into middle America,” says Waters, who was surprised when his original film was given a PG rating.
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In 2002 it was adapted into a hit Broadway musical which in turn was made into a movie starring John Travolta as Turnblad’s mother, a role originated by Divine.
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The film starred a young Ricki Lake as teenage dancer Tracy Turnblad, who uses local TV fame to protest racial segregation. With a string of cult favourites including 1974’s Female Trouble and 1981’s Polyester under his belt, Waters made his commercial breakthrough in 1988 with Hairspray.
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“But a great compliment.”Īccess unlimited streaming of movies and TV shows with Amazon Prime Video Sign up now for a 30-day free trial Sign up “An irony on top of all ironies,” says Waters. Even more remarkably, last year Pink Flamingos was selected for preservation by the Library of Congress as being “culturally, historically, or aesthetically significant”. In a sign that respectability has come for Waters whether he likes it or not, the film will soon mark its 50th anniversary by being re-released with new bonus extras as part of the prestigious Criterion Collection. Christened “The Pope of Trash” by Naked Lunch author William Burroughs, Waters made his name in the early Seventies with exuberantly transgressive independent films like 1972’s Pink Flamingos, a depraved tale of incest and underground baby mills starring drag queen Divine as a criminal living under the name Babs Johnson and dubbed “the filthiest person alive”. Respectability has never been high on Waters’ agenda. They said: ‘You can’t say that!’ But it’s just too hard for me not to, because you’re supposed to give such a respectable answer and I’m tired of being respectably gay.” “I told my office I was going to say that. He interrupts himself with a knowing laugh.
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“I’m just gonna blow as many people as possible,” the cult filmmaker, stand-up and newly-minted novelist tells me, audibly smirking. If there's something you think we should be talking about, let us know by emailing us at See more of our COVID-related coverage here.It’s the first day of Pride Month when I reach John Waters by phone at his summer home in Provincetown, Massachusetts, so it feels remiss not to ask the 76-year-old how he plans to celebrate. We will do our best to provide valuable information, share inspiring stories of communities rising up and make us all feel as (virtually) connected as possible as we get through this together. (It's also, at times, genuinely hilarious, making for a truly uplifting watch.)ĬBC Arts understands that this is an incredibly difficult time for artists and arts organizations across this country. Structured through interviews, archival footage, and a stylized fictional narrative based on the pulp novels of the 1950s, Forbidden Love was the first overtly lesbian film made at the National Film Board and remains an empowering window into this country's herstory.
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Produced by Studio D, the women's studio at the National Film Board of Canada, Lynne Fernie and Aerlyn Weissman's 1992 documentary Forbidden Love: The Unashamed Stories of Lesbian Lives deep dives into the extraordinary history of Canadian queer women in the 1950s and 1960s.