Multiple Maniacs

Multiple Maniacs (1970) was Waters' second feature length film. Heavily influenced by the Manson Family murders, Waters creates this film about a band of murdering, sideshow freaks/performers who travel from town to town robbing and murdering their rich,nosy customers. This is a weird film that showcases what Waters likes to do best. Try and repulse the audience as much as he can (mirroring the side show performers themselves).

Unfortunately, most of the humor is pretty dated and the very low, low budget might turn off most viewers (if they were not repulsed by the first twenty minutes). Other than that, it's a very enjoyable movie.

Waters will finally perfect his film-making a few years later with the back to back to back releases of Pink Flamingos, Female Trouble and Desperate Living. Shot on 16mm, B/W.

Recommended

The films of John Waters aren't to all tastes, but if you like, say Pink Flamingos, then you'll love Multiple Maniacs.

Waters' film-making career can be divided roughly into four categories:

• unseen first works (Roman Candles, Hag in a Black Leather Jacket, Eat Your Makeup)

• early filthy works (Multiple Maniacs, Pink Flamingos, Female Trouble)

• more mainstream works (Polyester, Hairspray, Crybaby)

• later missing-the-mark works (Serial Mom, Pecker, Cecil B. Demented)

In my opinion, there's no question that his early filthy works are the best and that Multiple Maniacs is perhaps the best of the three (or at least tying with Pink Flamingos).

Some of the reviewers here criticize the film for being badly acted or low budget. That's missing the point. Waters' films were never meant to couple the acting of Olivier with Industrial Light and Magic special effects. These are low budget gems that deliver equal amounts of shock and laughter.

Multiple Maniacs is one of Waters most perfect films in terms of the dialogue. The continual arguing between Lady Divine and Mr. David (the wonderful and elegant David Lochary) is almost operatic. The rest of the characters (most from John Waters early ensemble, the Dreamlanders) is absolutely outstanding. Mink Stole and Mary Vivian Pearce are pin-point perfect and Edith Massey is a gem in her screen debut. The late, great and much-missed Cookie Mueller gives the best performance of her career as the free wheeling daughter of Divine.

A black and white treasure from John Waters early career. Brilliant dialogue, hilarious scenes and a bravura climax make Multiple Maniacs a cinematic masterpiece.

Lady Divine is the star attraction and the leader of a traveling freak show. As a finale, she robs the square patrons but this time around, she starts killing and taking hostages. In the chaos, she escapes to her daughter Cookie and her new Weather Underground boyfriend Steve. She gets raped. She's led by a child king to a religious figure.

This is true outsider art from John Waters. I love his outrageous attacks on the conventional. That's why I love the opening freak show. It's rather short, too short in fact. The plot turns into a muddle. I get dizzy with Waters panning back and forth in every conversation. He keeps zooming in and out. He's never been a great camera operator. He's trying too hard and not good at it. On the other hand, the movie never stops being fascinating. His wild characterization never allows the movie to be bland. It is a bloody mess. I'm not quite sure who the other characters are sometimes. This is simply weird. It is wondrously weird.

This is what the conventional world looks like to me, so John Waters seems to say: Hollywood performances that are all pretty fake if you think about it (so who cares if the poor acting here just takes that to the next level), Suzy Homemaker housewives who revile in disgust over those they consider freaks, and hypocritical followers of Christ, whose type probably brawled over the food created by his miracles.

Conversely, this is what we (different, marginalized people) must appear like to you: deviants who eat their own vomit, sacrilegious heathen who turn rosary beads into anal beads in a church, and rampaging murderers who need to be put down before they harm to 'normal' people.

In several ways it's a pretty awful film; the plot is padded with lengthy scenes of silly dialogue, and Waters sometimes seeming to go for shock rather than having a point (the lobster rape, really? But his fans would probably say the shock is the point, you dolt). Regardless, in the subversive way that he shakes things up, gleefully upending all of our expectations, and in its final moments, to the tune of "God Bless America," he triumphs.

This film suffers from what a lot of low-budget-inexperienced-director films suffer from: long intervals in which nothing happens in an attempt to get to the better parts of the movie. This one has it is spades, which makes it hard to sit through to get to the highlights. But the high points are some of the most inspired of any John Water's flick: the surreal appearance of "The Emperor of Prague," played by small boy in full monarch regalia who guides Lady Divine, and the completely unsolicited cameo of "Lobstora," the enormous lobster prop who, like nearly everybody in the early films, has its way with Divine. I found these scenes far more interesting than the film as a whole, despite the (possibly unintentional) social commentary of the opening sequence. Here, a crowd of "straights" visit the Carnival of Perversions and witness horrors ranging from the "Puke Eater" to the "Homosexuals." Each attraction is viewed with similar disgust from the suburbanites, yet they make no effort to leave the show, which seems to call to Water's fascination with the American public's fascination with the fringe of society.