A Dirty Shame

A DIRTY SHAME is a good film but it certainly isn't for everyone. Of all the many films I have seen in my life, this one has (by far) the most pervasive sexuality of any movie--even more than in John Waters' early films. While there is not much nudity at all, I think only about 25 seconds of the film are not intended to be offensive by talking about perversions or showing them (at least in a sanitized manner). Like PINK FLAMINGOS, this film seems to be an experiment by John Waters to see how far he can go and get away with it. In this, case, he seems to be seeing how many sexual references and perversions he can include in a single film. However, given how much things have changed since the early 1970s, apparently you can go amazingly far! Of course, this could be because I saw the DVD version of the film (that is rated NC-17) and not the theatrical rated-R version.

The story is sort of like a fairy tale (or anti-Biblical morality play) set in a Baltimore suburb. In it, strange things happen when people have accidental head injuries--they become sex maniacs with their own particular type of perversion. Most any fetish or weird sex act you could imagine has someone in the town who recently switched to it. I could only think of a few weird sexual hangups that were not in the film and IMDb would probably ban me for even mentioning them or the ones in the film! This town, oddly, has two types of people--pervs and neuters. The neuters think all sex is bad and the pervs are running amok having sex with everything (even trees) and everywhere, even the local quickie mart(!).

When neuter Tracy Ullman receives her head injury, it's something special. The band of pervs leader announced that she is the chosen one--the one who will introduce some new form of perversion that has never been seen before. However, before she can find it, she is hit on the head again accidentally and becomes her old neuter self. It seems that accidental head trauma can make anyone switch back and forth--even Ullman's amazingly slutty daughter (who you just have to see to believe). Will Ullman regain her perversion and come up with the new sex act or will the revolution just fizzle out? Tune in and see.

The film is very funny but very raunchy. If you can watch John Waters' early films (PINK FLAMINGOS, MONDO TRASHO, DESPERATE LIVING or FEMALE TROUBLE), then you are probably a good candidate for the movie. If not, then it's an iffy proposition--this film is offensive in practically every way. If all the smuttiness were to be cut out, this film would be the length of a TV commercial. Seriously.

Oh, and by the way, for the fans of the old John Waters films, Mink Stole and Mary Vivian Pearce are both in this film--keep an eye out for them.

Depressed puritanical housewife Sylvia Stickles (Tracey Ullman) with a nice but horny husband (Chris Isaak) and a HUGE breasted kid (Selma Blair) is hit on the head one day. It immediately turns her into a raving sex addict and she finds there's a whole group of people like her led by Ray Ray Perkins (Johnny Knoxville).

First off I should mention I saw the 84 minute R rated cut and not the 89 minute NC-17 one. Some of the cuts were obvious as were the voice overdubs but I don't think it changed the movie a lot. What I saw was a typically strange John Waters film with plenty of good moments but it didn't totally work. The main problem is the script is all over the place! The first half of the movie is coherent but the film totally derails during the second half. Complications come on fast and furious and it all ends up not making a lot of sense. The movie is chockful of dialogue discussing frank sexual acts and some incredibly unsubtle imagery. Some of it works but, more often than not, it just doesn't hit its mark. A cameo by David Hasselhoff particularly makes no sense and isn't funny at all. Also the pacing here is atrocious--but that's not uncommon in a Water film. Acting really helps this one. Ullman is fearless here considering some of her very sexually explicit lines and costumes. Blair deserves a lot of credit for wearing these HUGE breasts and making the character sympathetic and believable. Isaak is given little to do but he's good. Best of all is Knoxville who has a real difficult role to play--and pulls it off. So, it has its moments but not enough of them. I can only give this a 5.

John Waters' satirical 2004 release "A Dirty Shame" was the controversial film that attained an NC-17, and basically was unable to be edited for an R-rating. Waters' film is very disgusting at times, sometimes even vile in its matter-of-fact portrayal of various sexual fetishes (some of which are admittedly fun-looking, while others are just plain foul and hilarious), which to be honest is expected of his films. And oddly, the characters are all well-played and likable. This is a film I have trouble rating. It isn't his best film, but it is ultimately enjoyable, despite some serious flaws.

Tracy Ullman stars as Sylvia, a "neuter" (someone who is repressed sexually) in a small town that is obvious very repressed and uptight. However, within the community exists a growing group of people who have experienced a sexual awakening (mainly due to head injuries), and are very open with their fantasies. When Sylvia experiences a head injury and is awakened, she meets with "sex saint" Ray-Ray (Johnny Knoxville) who introduces her to the world of open sexual fetishes, as he and his followers search for the ultimate fetish.

The film is very much a sexual cartoon, and often is full of exaggerated ideas, dialog and imagery. Waters employs all sorts of tactics (everything from gags, on-screen subtitles, suggestive set dressing, etc.) to illustrate a town that is repressed while still being exposed to sexuality, and the characters are all very interesting. I didn't even mention Selma Blair as Ullman's daughter- a woman who has enormous implants that are practically bigger than the rest of her body.

The film is also quite funny (particularly a scene that will make you look at the "Hokey-Pokey" in a whole new way), with some great gags and hilarious dialog, as well as trademark over-the-top jokes. A lot of "queasy" laughs are also brought in by the descriptions of various fetishes (many of which are real) and occasionally by seeing them played out by our "awakened" characters. Although this is one of the problems- the film does go overboard at times, and a lot of the gags don't quite fit in, and interrupt the flow.

In addition, it isn't made particularly well- certain effects give themselves away, the plot does get sloppy, and after a while, the content will weigh on your patience. You will wish that more "plot" would happen.

That being said, there is still a lot of fun to be had, just don't expect this to be Waters' masterpiece. I give it a slightly above average 6 out of 10.

Waters does a great job at expressing how absurd our government and social efforts to repress sex have become. In a zombie type world where the zombies are the "crazy" people who actually enjoy sex and the "normal" people are the prudes who think all sex is dirty, Waters offers his typically absurd social commentary. I loved it and laughed at times more than I have in months. If you are a prude, conservative, or don't get satire, do yourself and other movie fans a favor and stay home. No in fact, go support the film so Waters can make more of the same. DISCLAIMER: Disregard the above if you don't want the opinion of an open minded, non bible beater.

Tracey Ullman does some priceless double-takes in this John Waters comedy, playing uptight wife and mother in a Baltimore suburb who gets a rap on the noggin and becomes a sex addict. A shabby-looking enterprise with scrappy editing, this would seem amateurish even for a first-time director, but Waters certainly doesn't seem to mind. As a filmmaker, he is gleefully puckish, with a heightened sense of the ridiculous, and as usual he gets his cast to ride right along on his coattails. Selma Blair is Ullman's daughter, who has "mutilated her mammaries"; Chris Isaak is Tracey's husband who also gets a knock on the head and dreams of musclemen posing; Johnny Knoxville is a sex guru/auto mechanic; Suzanne Shepherd is Ullman's mother, Big Ethel, who runs the Park and Pay. Relatively short film isn't compact (the final reel is just a lot of hamming and running around) but the first-half has some laugh-out-loud moments and the whole picture benefits from Ullman's work--she's a stitch. **1/2 from ****