Hedwig: Rock, Amor e Traição

Without gushing, I think that this is the best film to come out of the US in several years. This is the type of movie which demands repeated viewing, and reveals itself a little each time. I'm surprised that the genius of this film didn't receive more accolades at the time, but I attribute that to the socially acceptable restraints of the mass culture.

Absolutely perfect production from top to bottom, makes you laugh out loud... then tears your heart out & puts it back in again. Multi layered & symbolic throughout.

Songwriting by Stephen Trask is sublime. But how the hell can a clown like Eminem get an Oscar & this guy was virtually ignored?! Sickening thought. Cameron Mitchell must have been born for this part... a brave & charismatic perf.

This movie achieves everything that "Velvet Goldmine" (yuck) could not... in a fraction of the time.

Anyway, anyone who's got a little freak in them will love this movie. And those who don't "get it" should be content watching the rest of American mass market trash cinema.

When one thinks of the concept of `rock musical,' one would usually think of brainless dance extravaganzas with no plot to be had. Well, ladies and gentlemen, whether you like it or not. Hedwig! The tremendously brilliant Hedwig and the Angry Inch counters the one's stereotype of the rock musical; it has intelligence, ingenuity and a deeper meaning. Unlike its predecessor Rocky Horror Picture Show, it is filmed through an artist's view and has the sexual energy and the integrity to match that of an art film.

Hedwig and the Angry Inch began as an Off-Broadway musical in 1997, where it achieved cult status and critical acclaim. It is the story of Hansel (Ben Mayer-Goodman/John Cameron Mitchell), a homosexual young man who grew up in communist East Berlin, and dreamed of leaving his war-ridden homeland to find his soul mate. He thinks that he finds his soul mate in the person of U.S. Sergeant Luther Robinson (Maurice Dean Wint), a man who lusts for Hansel, but does not accept him for who he is. He proposes marriage to Hansel, with the promise that he will take him from East Berlin to America. However, Hansel's freedom comes with a price; he must undergo a sex change operation. Hansel's mother (Roberta Watson) gives Hansel her passport, and her name: Hedwig.

However, things do not go as planned. Hedwig's operation got botched, rendering her with an `angry inch,' and Luther instantly abandons her in a loathsome trailer in Kansas, where she keeps herself afloat with her dreams of becoming a glam rock star. To finance herself, she turns tricks at a nearby military base and becomes a babysitter for the children of commander of the local army fort. As a result, she falls in love with the commander's son, Tommy (Michael Pitt). Hedwig allows Tommy to collaborate on the brilliant songs that she has written and endows him with the rock name of `Gnosis,' the Greek word for `knowledge.' However, when Tommy learns of her sex, he too abandons her, steals Hedwig's songs, and becomes a rock and roll icon.

The film opens with Hedwig and her band, the aptly titled `Angry Inch,' performing in the straight-laced chain restaurant Bilgewater's, to horrified customers. Hedwig and the Angry Inch, along with their manager, Phyllis (Andrea Martin), have been following Tommy's world tour. In fact, Bilgewater's is adjacent to the humungous stadium where Tommy is performing. During her `world tour,' Hedwig recounts her heartbreaking story through a series of flashbacks, implemented through fades of white and different cinematography (absences of color, quality of film, etc).

The driving force behind every aspect in this film is John Cameron Mitchell, who starred, directed, and wrote the screenplay for Hedwig and the Angry Inch. This happening was extremely important, because Mitchell derived the entire concept of the Hedwig and brilliantly adapted it for the Off-Broadway stage. The stage version of Hedwig and the Angry Inch involved Hedwig recounting her past experiences through a narrative, so for the film version, Mitchell simply implemented the flashbacks in live action sequences. Even though his performance as Hedwig is deliciously tawdry sexual, through his brilliant acting talent, one is able to have a peek at Hedwig's loves and inner desperation for acceptance. Mitchell derived the basic concept of Hedwig and the Angry Inch from his own experiences growing up as the homosexual son of an army general. His father served in Berlin, and he had firsthand knowledge of the war situation.

Unlike most other rock musicals, the brilliant songs that Hedwig periodically performed were done so during Hedwig's stage performances, not at random points in the film. This aspect added to the believability of the film, discouraging the absurdity of its predecessors. Stephen Trask, who also appeared in the film, brilliantly wrote the Hedwig's songs. The songs did not have a tinge of campy like Broadway-style songs; they reflected the glam rock principles like the songs of David Bowie and Lou Reed from which they were based. Trask's past is in rock and roll, hence the obvious edge of the songs in Hedwig and the Angry Inch. Mitchell's beautiful voice adds a triumphant punch to all of the songs (he starred in numerous musicals prior to Hedwig.) and lets the emotions of the beautiful lyrics and his brilliant performance shine through.

Even though Hedwig and the Angry Inch is a very low-budgeted independent film, Mitchell turned to his inventive imagination in order to create a richly beautiful and artistic piece. For example, he used imaginative camera angles to produce special effects. During `Angry Inch' performance scene, he executed a low angle medium shot underneath him to make it appear as though he was flying over a room of revolting people. Then, he executed a high angle long shot to depict the people from his perspective. Also, he used cinematography to change the mood of the film from the beginning to the end. For example, in the beginning of the film, Hedwig wore lush, elaborate wigs and brightly colored costumes and lighting was in warm, pinkish hues to depict Hedwig's more positive outlook. In contrast, toward the end of the film, Hedwig wore stark wigs and costumes and the film was filmed in higher contrast to depict Hedwig's tragic breakdown.

Hedwig and the Angry Inch recounts Hedwig's journey to find her soul mate: her journey of becoming `whole.' Mitchell derived this concept from `Plato's Symposium,' in which there were three sexes of people (man-woman, woman-woman, and man-man), with four arms and four legs, that were split in half by Zeus and wandered the earth, searching for their other half. Hedwig views herself as being a half of a whole, and thus does not accept herself for who she really is. Her first two attempts at love proved to be futile, and her current relationship with band mate, Yitzhak (Miriam Shor), is shallow and empty. In the face of adversity, Hedwig finds herself tragically alone. In order to find her destiny, she must look to herself for the answer.

Adapted from an off-Broadway show, "Hedwig and the Angry Inch" is the end result of 6 years of character and idea evolution by creator John Cameron Mitchell. Equal parts musical, mockumentary, and drama, the film pleases on all levels.

The film's musical numbers are brilliantly crafted and cross several different genres. A country-flavored number, "Sugar Daddy", appears smack-dab in the middle of all the punk and glam rock tunes, daring anyone to doubt the soundtrack's variety. The majority of the songs are catchy and great fun to listen to ("Wig in a Box" even has a karaoke sing-a-long during the second chorus), while staying true to the themes of the movie and Hedwig's life. John Cameron Mitchell (Hedwig) sings live vocals over a pre-recorded band mix, and this definitely lends more of a live concert feel than if he had simply lip-synched all the songs for the role. The majority of the cast is reunited from the original cast of the "Hedwig and the Angry Inch" play, so fans of the original play who have not seen the movie need not worry about "outsiders" ruining it in transition.

The film's mockumentary nature mainly results from how the songs, being "autobiographical", are preceded by scenes of commentary by Hedwig and a flashback from her life. While the transition from real time to flashback is usually made quite clear, some scenes (particularly the climax, which is a mess trying to piece together) are confusing as to what is real and what is flashback. The rest of the mockumentary comes between musical sequences, during Hedwig's interaction with her manager, band, and showing of mixed feelings towards Tommy Gnosis, an ex-lover who stole all her material for his own album and is now a popular teen idol. Her interactions with husband Yitzhak (who, due to an excellent make-up job and performance by original cast member Miriam Shor, I had no idea was played by a woman until I saw "Like It or Not", a documentary on the film included on the DVD) would have made the list as well, had a vital character-development scene with Yitzhak (the only non-Hedwig flashback in the entire movie) been left in the final cut; as it is, Yitzhak serves only as Hedwig's back-up singer and whipping boy, a much less important character. Most of the film's situations, however, are explained well, via flashback or dialogue, and have well-written gay and transsexual jokes.

Underneath all the humor and the music, however, is the serious theme of feeling spiritually "whole". Hedwig seems to interpret this (through the song "Origin of Love" and some interesting animated vignettes) as through finding love and one's soul-mate. Mitchell, who knows his character better than anyone, gives an amazing performance and is not only able to portray Hedwig's bitchy diva side, but also able to make the audience sympathize with why she acts that way (unlike real-life divas), and how deeply her inner feelings and her failures so far at "becoming whole" through a relationship trouble her.

Having not even the faintest idea of what the film was about other than that it was a musical, I was very pleasantly surprised at how much fun I had with Hedwig, and how at the same time it never strayed far from its serious theme. In its journey from a character, to a play, to a movie, "Hedwig and the Angry Inch" has won over audiences as well as taken home accolades at Sundance, but has not had much mainstream success (chalk this up to its "controversial" transsexual main character and the popularity of "Moulin Rouge!", an experiment in stylistic over-extravagance, which is bigger and flashier than "Hedwig" due to its grand budget but lacks the sense of "genuine" emotion in the plot). This is quite tragic, because in retrospect, "Hedwig and the Angry Inch" was definitely one of 2001's best films.

This movie is insane. That's why I liked it so much. The plot and visuals are as twisted as the inch that Hedwig is left with after her botched sex-change. In contrast, the lyrics of the many songs in the this movie are beautiful and poetic. I'm going to search out the sound track for this movie, as the songs were brilliant and inspiring.

This movie shows that everything has two sides that some how merge together to form the truth, The beautiful woman with the ugly, scarred genitals. The everlasting love soured by betrayal and shame. The cravings for success marred by the fear of power.

The unusual story, and the wonderful music make this movie alone worth watching. The amazing acting, outrageous costumes, and fabulous wigs make it a cult classic.

Another success for producer Christine Vachon, and a definite recommend from me!!!

No matter how much I do praise it, I'll end up turning people against it. But, let me ask you: what were you expecting when you first heard of Hedwig and the Angry Inch? It's been billed as a punk rock musical about a transsexual from East Germany who was duped into coming to live in a trailer park in Kansas City. So what was I expecting? A gay camp film. I had no doubts that it would be anything else. And that's not to say that I wouldn't have enjoyed a gay camp movie. After all, I liked Moulin Rouge. But I got a surprise that was entirely unexpected: what I experienced was the best new film I had seen in years. And I mean that. Hedwig and the Angry Inch is equally hilarious and touching. Not that I want to spread cliches, but I seriously laughed and I seriously cried, often simultaneously. This manages to be the best American comedy since, damn, Preston Sturges was still writing and directing. It's easily the best movie musical since Cabaret. It's also one of the most heartfelt and passionate dramas, and one of the best character studies I've ever seen. Along with that, John Cameron Mitchell delivers a performance that perhaps hasn't been equalled since, I don't know, Robert DeNiro in Raging Bull, which might be the ultimate cinematic character study. I shouldn't say that, because it might hint that Hedwig is a dark character, but, well, I'd call her just a great protagonist. She's a heroine, especially to anyone experiencing sexual confusion, but even to me, a straight, Midwestern boy. Hedwig is a heroine for anyone who's ever felt that they've been treated like crap their entire life. I wanted to clap for and support Hedwig emotionally throughout the entire film. In short, Hedwig is a character I deeply loved, equal to just a few other characters I've met throughout my extensive journeys in the cinema. Parallel to a situation in the film, if I should ever see John Cameron Mitchell on the street, I'd have to hug him.

I also have another heap of praise that I have to go through before I am done. I've always thought that movie musicals adapted from stage plays were the death of the genre. Only a few exceptions ever seemed more than unimaginative, slavish films that worked only to bring Broadway to an audience who could or would never visit NYC. Cabaret was the one big exception that I had seen previously, but you also hear West Side Story mentioned as being a great film. But, in adapting a stage play for the screen, I always expect the film to seem stranded on stage. To boot, Hedwig had another mark against it: the director, Mitchell again, had never directed a film before. Well, I really don't know what training he had in the art, but it must have been enough. The cinematic art, at least the visual aspect of it, has nearly been forgotten in the 1990s and 2000s, but John Cameron Mitchell creates a visual tour de force as much as he does one of writing and acting. I love the scene where Hedwig the adult reminisces about how his mother forced him to put his head in the oven if he wanted to sing when he was a child. And Hedwig and the Angry Inch's (that's the band's name as well as the film's) appearance outside the Menses Festival next to the port-o-potties. A goth chick, who presumably didn't have tickets for the actual Menses Festival, watches the band in deep curiosity and confusion; Hedwig invites the girl to sit up on stage with her while she relates her past. I also love the sequence where the American G.I. discovers him laying naked in rubble. Hedwig's original name was Hansel, which leads to one of the funniest jokes I can ever recall seeing. Or how about the scene where Hedwig, when babysitting, discovers Tommy, the future rock star who steals all her songs, masturbating in the bath tub? That scene is handled so well that I almost died laughing. To tell you the truth, I don't think there is anything ostensibly wrong with the film, period. I just wanted to talk about the amazing direction because the one review of it I have on hand says "the direction can't help from being flat." FLAT? How can you say that it is flat? PS: The animated number and the song that goes along with it is adapted from Aristophanes' speech in Plato's Symposium, about which I wrote my senior thesis in college. The rock star's stage name, Gnosis, is Ancient Greek for "knowledge," which Hedwig actually says in the film. One of the filmmakers must have learned Ancient Greek at some point in his life. Bravo, good sirs.