Cecil B. Demented

Last night, I saw Cecil B. DeMented at a special screening hosted by John Waters, who took questions after the fact. After taking into account my own impressions of the movie, John Waters' apparent impressions, and the comments on this site, I really have to conclude that most of the commentors don't quite get the point. This movie was not in any sense meant to be taken seriously, and yet the detractors label it a hypocritical satire while the fans read it as an honest indictment of Hollywood- in both cases, the commentors are barking up the wrong tree, in my opinion. If Cecil B. Demented is to be taken as a genuine satire, it is clearly meant as a satire of both sides of the argument. Waters does not take sides in this movie- he portrays Cecil and his Sprocket Holes as pretentious loons and cultists, and the "Hollywood (actually Baltimore) Filmmaking Establishment" as tasteless middlebrow panderers. It is obvious in these portrayals that Waters thinks they're ALL pains in the ass- after all, Pauline Kael-ite auteur-lovers ARE pretentious, and Hollywood DOES turn out a lot of lousy shlock. The critic who points out that the Sprockets' tattoos "read like a list of directors kids SHOULD be watching" and who compares the love of Preminger with the dislike of Lean clearly doesn't realize that Waters is in on the contradiction. The Sprockets celebrate "art movies" as they celebrate pornography and Kung Fu flicks. It should be apparent to almost anyone that the Sprockets are no more meant to be role models for the moviegoing public than the makers of "Forrest Gump II" are. First and foremost, the movie is meant to be funny, and it succeeds admirably on that count. True, the humor is sometimes overly crude and often falls flat, but any movie with memorable dialogue such as "Before I was a drug addict, I had all KINDS of problems- now I just have one!" can't be considered bad. Waters seems to consider this film, like most of his others, a lark- a reflection of his own sense of humor. When asked his inspiration, Waters pretty much admits that he just thought it would be fun to suppose what would happen if the readers of Film Threat magazine really took their anger to the next level. When asked if Cecil is a reflection of himself, Waters is quick to discredit the notion, pointing out that Cecil has utterly no sense of humor. In fact, the main target Waters skewers in this film are people who take things too seriously. Judging from the other comments on this page, those humorless people have trouble recognizing themselves in the film.

All you `movie lovers' out there who are the genuine article, prepare to laugh – HARD! In `Cecil B. Demented,' famed off-Hollywood filmmaker John Waters has turned his attention to a subject that is obviously near and dear to his heart, and, in fact, near and dear to the hearts of all true lovers of movies everywhere. In his latest wild comedy, he has tackled the seemingly irreconcilable conflict that exists between the worlds of big budget mainstream Hollywood moviemaking and low budget, renegade independent cinema - a conflict that the latter always seems unfairly and unfailingly to lose. Waters certainly knows whereof he speaks - he, himself of course, being one of the great pioneers and icons of the underground film movement. He launched his directorial career and made a name for himself in independent film circles way back in the 1970's with such crude landmark underground classics as `Pink Flamingoes' and `Female Trouble.' Since that time, he has himself received some heat from diehard indie film purists who have considered him something of a sellout for producing offbeat but decidedly more `commercial' works like `Hair Spray,' `Cry Baby' and `Serial Mom, ` often with big name actors and actresses in starring roles. Yet, even with this more polished sheen, Waters' films have always retained that quality of outrageousness and that willingness to push the envelope that distinguish his vision from that of more mainstream filmmakers.

`Cecil B. Demented' is a particularly funny film for those who share Waters' outrage at the mass audience's seeming preference for the bland unoriginality of much of the product churned out by the cinema factory known as Hollywood and its seeming dismissal of the cutting edge experimentation and originality that define so much of independent filmmaking. And he lambastes a money-hungry industry that is all too eager and willing to supply the public with the big budget, special effects-ridden pablum it seems to crave. Or is it – in classic chicken-or-egg fashion – really the STUDIOS that condition the audience into thinking that those are the films that they want to spend their hard earned money to see? At any rate, Waters' clever parody follows a Patty Hearst-type storyline (as usual, Patty Hearst herself appears in the film) in which a group of bizarre, renegade independent filmmakers kidnap a Hollywood starlet (Melanie Griffith at her most likable) then force her to star in their reality-based new film which involves them filming themselves as they storm, guns blazing, into theatres that are showing putrid mainstream films, all in a righteous effort to bring commercial cinema to its knees.

`Cecil B. Demented' provides a rapid-fire onslaught of clever inside jokes lampooning both mainstream and independent filmmaking. Although his heart obviously lies with the latter, Waters also can remain objective enough to skewer some of the self-righteous pretentiousness that occasionally creeps into that type of filmmaking as well (he even shows that, as a director, he is damn good at staging one of those slick car chases he professes to abhor). Yet, as this clever parody plays itself out, most of us watching the film can't help but nod our heads in amused agreement with much of what he is showing us. In addition to the jokes themselves, Waters provides amusement with his sharply delineated comic characters each of whom satirizes a different aspect of the renegade subculture. We have, for instance, the maniacal, fanatical, single-minded director (delightfully played by Stephen Dorff) who sees himself as nothing less than the messiah sent to destroy commercial filmmaking and erect a cinema based on iconoclasm and originality in its place. We have all his devoted followers who run the gamut from Satanists to porn stars to punk rockers to straight hairdressers to gay truck drivers etc. Without question, much of the zestful energy that propels this madcap film forward comes from the dead-on performances of the actors and actresses in these roles.

Energy and originality are in fact the hallmarks of this film from start to finish. `Cecil B. Demented' may not be Waters at his most outrageous, but it provides loads of pleasure for film lovers who have been thinking many of the same thoughts that only Waters, in his uniquely humorous way, could effectively get across. Real movie lovers of the world unite! Cecil B. Demented is here to save the day!

I haven't seen enough John Waters movies to make a comparison to this one, so I can't tell if this was his most impressive work or not. But impressive, it is. I can see that Waters has a keen eye for satire. He does a fine job at mocking both underground and mainstream cinema, without being too exaggerated. He never goes over the top. Some of the scenes may be a little less than satisfying, the comedy may sag at times and there are very few actual "laugh out loud" gags--but at least Waters doesn't overdo the comedy to the point where it's sickening. Sure, he has a quirky sense of style that doesn't have a worldwide appeal. There is a scene in the movie involving a porn star and a gerbil (use your imagination). However, what Waters has is edge with taste. None of this mindless, gross-out crap we often spot in recent years; his stuff has intelligence.

What's great about this movie is its sense of irony. Stephen Dorff is perfectly cast as the emotionless, soul-less cult director Cecil B. Demented. The great thing about his performance--and Waters mentions this too--is he blurts out the most blatant, silly ideas and he totally plays it straight. He's serious about his cinematic deeds, no matter how far-fetched and stupid they sound. The movie is full of quirky characters. One quote that I will always remember is by Adrian Greenier, who plays the bong-toking crew member, when he's talking to Melanie Griffith's character. He offers her a hit from his crackpipe. She refuses, and he tells her, "I used to have all sorts of problems. Now it's just drugs. It's given my life a real focus!"

The climax is pretty...well...snappy. Unique but snappy. And I think Waters could've come up with something better. I don't know what, I just felt it was missing something.

"Cecil B. Demented" is wild, original and often funny. And after seeing this movie, I'm anxious to check out Waters' earlier work. On the DVD, there is a pretty good commentary by the director. He rambles on at times, but it's often pretty insightful. It's also interesting to find out "There is no extra in a John Waters movie." He incorporates the same cast members into every one of his movies.

My score: 7 (out of 10)

Mainstream movies and the studio system, as well as independent films and filmmakers, are sliced, diced, hammered and shredded by writer/director John Waters in his biting and funny satire, `Cecil B. Demented,' starring Stephen Dorff and Melanie Griffith. Railing against convention and adamant in his quest, a young man who wants to make a statement about bad movies, the way they're made, those who participate in these cinematic transgressions and those who flock to theaters to see the final product, dubs himself `Cecil B. Demented' and sets out to make a `real' indie film. Toward this end, he assembles a group of like-thinking would-be filmmakers and forms them into a lethal band of cinematic guerrillas he names the `Sprocket Holes,' and has them take jobs at and infiltrate a theater in Baltimore that is about to hold a lavish premiere of a new movie featuring Hollywood star Honey Whitlock (Griffith). Honey herself is scheduled to attend, and Demented's plan is to kidnap her and force her to star in his film, which will be shot `ambush' style, intruding upon real people and situations, rolling film and getting it in the can before anyone knows what happened. He hopes. Dedicated to making the kind of movie that should be made, the Sprocket Holes are not only willing to die for their art, but go so far as to take a vow to remain chaste until the film is completed.

`Demented' is by turns outrageous, violent and hilarious, and-- some would say, subjectively speaking-- that Waters pushes the envelope of good taste to the limit. But then again, he usually does, and it usually works. Anyone who knows John Waters' movies knows what to expect (indeed, anticipate), but those who come to his work unawares may be in for a jaw-dropping eye opener. When satire is done well it can cut both ways; this one is, and it does. Movies made by the studios for no other purpose than to make a buck, and which contain no artistic merit whatsoever are the obvious target of Waters' barrage, but so are the `auteur,' legends-in-their-own-minds `indie' filmmakers with a penchant for taking themselves too seriously. Along the way, Waters is having a laugh at himself, even as he laughs along with his fellow filmmakers at both ends of the spectrum, those at whom his shots are being fired.

As Demented, Dorff takes a somewhat over-the-top and highly energized approach to the character, in a performance punctuated with exclamation points. But he leaves no doubt in the mind of the viewer that he IS Cecil B. Demented. And you know that come what may, there's going to be no stopping him. Griffith, meanwhile, adds a nice touch as Honey, a character through whom we see all the transparencies of a Hollywood `star,' whose career has never been hampered by bad acting. Inured of a caustic and ego driven personality, she nevertheless manages to garner some sympathy as the story moves along and her vulnerable side is exposed. Griffith is perfect for the part, which is something of a good natured nudge in the ribs of her own image. As intended, it's just another instance of Waters pulling aside the curtain to reveal what is really behind the facade.

In a supporting role, Alicia Witt gives a memorable performance as Cherish, the porn star who sees her co-starring role with Honey in Demented's film as a way of legitimizing her career, while at the same time thumbing her nose at the industry that has for so long shunned her `talents.' The additional supporting cast includes Adrian Grenier (Lyle), Larry Gilliard Jr. (Lewis), Maggie Gyllenhaal (Raven), Jack Noseworthy (Rodney), Michael Shannon (Petie), Harriet Dodge (Dinah), Zenzele Uzoma (Chardonnay), Eric M. Barry (Fidget), Erika Lynn Rupli (Pam), Mink Stole (Mrs. Mallory), Patty Hearst (Fidget's Mother), Ricki Lake (Libby) and Kevin Nealon (Himself). A film that will definitely get your attention, `Cecil B. Demented' sets pretentiousness on it's ear by saying what most people think but rarely say due to the constraints of social protocol. Waters crosses some lines and doesn't pull any punches with this one, which may make it a bit hard for some to take; but movie lovers in general, and aficionados of independent film especially, should get a real kick out of it. It may be a bit skewed, but it's all a part of the magic of the movies. I rate this one 8/10.

I started off enjoying this quite a lot but by the end, my feelings were more mixed.

To get some negatives out of the way first, it felt a little juvenile and simplistic, almost like it was written by a teenager (but a really smart one), not a guy in his 50s. Kind of neglects the idea that people can enjoy mainstream movies and weird stuff. I know Waters isn't really the most subtle director, but making things so black and white irked me towards the end.

Also there are things like all the main characters just getting away from the police halfway through the movie? They're shown surrounded, there's a cut, and then they're all off driving away?

And it's one of those movies that simplifies the filmmaking process in a surprisingly dumbed down way (sound? Editors? Shooting more than three or four scenes?) but it becomes apparent that maybe Cecil wasn't as concerned about releasing the movie, so maybe that's a dumb criticism.

Things in this are good though! It's got a great cast who are all utilised well (Adrian Grenier is even good!), the premise is a lot of fun, and I really enjoyed the first hour or so. And I do agree with many of the things Waters is trying to say- I just think it got a little on the nose towards the end.