Hairspray: Grasso è bello

As a fan of the stage musical, I was worried that the film might not measure up - but they hit this one out of the ballpark! Bright, bouncy and joyously hilarious! A big smile hit my face as soon as it started and I didn't stop grinning until the end of the credits.

I haven't heard a press screening audience applaud after musical numbers since "Chicago" - and they cheered! The huge cast is uniformly terrific. Travolta, Pfeiffer and Walken are a hoot and Nikki Blonsky couldn't be more perfect.

The performances, script, lyrics, sight gags and costumes wage an all-out assault on your funny bone. Even the set dressing gets laughs!

This is the movie musical that Grease, Rent and Dreamgirls should have been.

Bravo!

Following a slew of other such stage musicals turned movies, one might expect Hairspray to have simply jumped on the cinematic bandwagon, and have little to offer, save being 'that new movie musical'. However, despite the number of stage musical adaptations of late, the quality of the productions is by no means receding, and if anything, increasing, as Hairspray proves one of the most shamelessly jubilant and infectiously enthusiastic efforts to date.

Unlike many other movie musicals, whose song and dance numbers more often than not seem stiff and forced, Hairspray's crackle with kinetic vitality and genuine life. The choreography is consistently superb, and director Adam Shankman's past experience in the field really shows - the innovative dance moves certainly scream of the sixties. And while the plot may stumble and come across as a bit jerky at times, Shankman keeps the pacing and energy so consistently on overdrive such complaints seem trivial compared to the sheer ballistic exuberance on display. For a film so shamelessly fun as this, the occasional imbalance of plot or lapse of logic seem only natural, and are easily forgivable when there is so much else to appreciate going on.

Apart from the unquestionably impressive song and dance numbers, the film also proves a rousing success in capturing the look and feel of the sixties in a particularly vibrant fashion. From the candy coloured costumes to the massive hairdos, the film gives the impression of immersing the viewer in a Technicolor throwback of forty years. But as well as visually, the film also thrives on interpreting some of the most valid social issues of the decade, including racism, and other such prejudices against the social norm in a particularly cheerful and uplifting way, making Hairspray one of the most morally sound musicals to grace the screen in quite some time. Such an unflinchingly feel good film might be the sort to stir up contempt in some of its more jaded viewers, but Hairspray always seems so brightly genuine that it avoids syrupy cliché, culminating in a satisfyingly touching film.

The universally spectacular ensemble cast each boast both wonderful performances and impressive singing voices, really bringing the film to life with particular flair and style. Newcomer Nikki Blonsky makes for a boisterous and instantly likable lead as the spunky Tracy Turnblad, infusing the film with a quirky charm and energy right from the start. One has to give John Travolta credit for playing his part straight, instead of coasting by on the shock humour generated by seeing the iconic star stuffed into a fat suit and drag, and he succeeds in instilling Edna with a surprisingly touching streak - it's just a shame, given his history, that his singing and dancing are disappointingly not up to par with the rest of the cast.

Genre veteran Christopher Walken proves his effortless talent is not dampened by age, dancing and singing better than most half his age, and carrying the film's most touching scene (with his character professing his love to his wife, Travolta) with ease. Michelle Pfieffer aces her vindictive television producer role to icy perfection, and James Marsden is perfectly cast as cheery game host Corny Collins. Teen heartthrob Zac Efron does what he does best here, without doubt winning new legions of screaming female fans in the process, and Amanda Bynes is a surprisingly strong and endearing presence as Tracy's best friend. Elijah Kelly gives a charming performance as well as proving hands down to be the best dancer in the cast, and Queen Latifa also demonstrates dramatic skill seldom demonstrated before, instilling the film's most serious scene, a solemn protest for integration rights, with quiet dignity. It is a joy to see so many talented actors collaborate to such tremendously enjoyable effect.

Apart from those who generally turn their noses up at the gleeful mayhem of movie musicals, it is difficult to imagine watching Hairspray without a heartfelt smile plastered across one's face. The film is too genuinely wholesome and outright entertaining to generate much contempt, and even though the plot may stumble on occasion, the film whips by at such a steady clip, fueled by universally superb singing and performances by the cast that it is near impossible to avoid being caught up in the infectious enthusiasm of the production. Expect to hear impromptu renditions of many of the songs over the course of the next year or so, and don't be at all surprised to find yourself joining in - it seems only natural for a film as downright enjoyable as this.

-8/10

I think I'll watch any copy or remake, at least for a while, because its fascinating to have one movie folded onto another. In this case, the original was attractively strange. We knew it came from someone who celebrates not just trailer park kitsch, but the peculiar self- referential sexual edge. It was joyful trash, and not from the South. On that, Waters laid a veneer of a genre, but the thinnest of veneers. His poke in the eye was intended very seriously.

Now the formula is reversed. We have a stage show that takes itself seriously, and the poke in the eye? Well, that's now gone, replaced by stylistic nods. Travolta in drag is a joke, but a simple movie joke, not a statement about the edge of the world. There's a moralistic story here about integration that ends happily. In the original, we know that what we see is one positive event in a sea of reverses. We have our fat girl in both, but in the original she was deliberately pathetic and the whole world of similarly pathetic creatures saluted. Here, she's triumphant. Having Queen Latifah on board in such a prominent role assures that. For once, she was appropriate for the purpose.

Its all another reminder of how we absorb the deviant. We had the hippies for less than a decade before they became a "lifestyle." We had true black heros, and they were swallowed in a glueball of hiphop. Waters is no great shakes in the grand mastication of society. But he was boldly perverse (within the rating system). And here, that perversion becomes simply set dressing for an old fashioned song and dance show.

Its perverted.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

'Hairspray' is perhaps one of the most spirited energetic musicals of recent time. Right from the beginning till the end, it's all energy. There is not one boring moment. Actually there is no time to be bored. Shankman does the admirable task of directing the film AND choreographing the dances. The film's also a treat to watch. It's very colourful and reminds one of the 60's glamour. The songs are of the foot-tapping and head nodding sort (pretty much any upbeat song of the 60's has this kind of effect on me).

The cast is splendid. The actors do the multiple task of acting, singing and dancing. It's quite obvious that Travolta's Edna is played by a man but his acting isn't bad. He manages to emote well and his dance number with Christopher Walken is hilarious. He does get into the skin of the character if not entirely the gender. Walken excellently plays the loving kind-hearted, slightly naive, father. Here one will see a different Christopher Walken. This is Michelle Pfeiffer's second negative role this year (the other being her character in 'Stardust'). The role was originally played by the famous Deborah Harry and it's noticeable how they eerily look alike. Pfeiffer both looks and acts the part of a skinny manipulative obnoxious bitch, making it her own. A lesser actress could have easily messed up the part. James Marsden is spot on as the host of a 60's musical show. He keeps proving his versatility. Amanda Bynes is adorable as the daft and supportive Penny. Allison Janney is a fantastic scene stealer. Jerry Stiller, who played Wilbur in the 1988 version, makes his presence felt with just one scene. It's hard to picture anyone other than the divine Queen Latifah as Motormouth Maybelle. Elijah Kelley dances well and Zac Efron's acting is wooden but his dances are okay. However, the 'Hairspray' rests on newcomer Nikki Blonsky. Not only does she hold her own among a host of incredibly talented actors, she bravely carries the film.

Next to being a wonderfully entertaining film, 'Hairspray' also brings forth some issues such as acceptance, tolerance and integration of people no matter their gender, race or sexuality. This is what the film is essentially about and it is brilliantly interwoven into this musical extravaganza. I wasn't expecting much from the film but right from the opening sequence it absorbed my attention and I was completely into the energy of the film, forgetting everything else around me during its 2 hours. A great experience.

Had it not been for a free pass to an advance screening, I must admit that my friends would have had trouble getting me to see 'Hairspray.' I don't mind musicals but 'Hairspray' didn't seem like something I'd enjoy. Not for the first time in my life was I wrong.

'Hairpsray' is about tolerance, integration and acceptance of others. The film uses the racial divide between blacks and whites but the subtext of the film is Heterosexuals and Homosexuals. 'Hairspray' viciously lampoons bigots and reserves specific devastation for Ultra-conservative religious zealots, figures of authority and WASPs. The satire is white hot (Alison Janney steals every scene she is in), the music catchy, the movie's spirit is irreverent.

I had no problems with the cast and their performances. John Travolta isn't bad and when he gets his chances to dance he's great fun. Christopher Walken and Travolta have a song and dance number duet that rates among the best moments of the film and isn't to be missed. Queen Latifah adds some dignity and balance while Michelle Pfeiffer plays a terrific screen villainess. Amanda Bynes has few lines to deliver but gives perfect comic deadpan when she does for excellent comic effect. Keep a sharp eye out for the hilarious John Waters cameo during the opening number.

Of recent major movie musicals, this is easily better than 'The Producers,' (better comedy and music) and last year's 'Dreamgirls' (weaker songs but better pacing and strong beyond the first half). Although it doesn't have the star power or scale, I also prefer it to 'Chicago' -- 'Hairspray' takes itself less seriously and not many movies have me laughing and smiling from start to finish. If you're looking for a little pure counter-culture escapist fun, 'Hairpsray' is your movie.