Female Trouble

The first time I saw Female Trouble I was a sheltered suburban white boy and it blew me away. The film begins in white suburbia and we quickly see that Dawn Davenport ( Divine) has just about had it with her lame parents and teachers. She is driven to extremes by the numbing vacuity of her surroundings." I hate this school and all these teachers who don't know one thing.I hate my parents too."From there Dawn follows her own dim lights to where they will lead her. She's always true to herself and is refreshingly driven by her id. I applauded her audacity and courage as I watched her destiny unfold and lead to it's awful end. But I watched from the numb, vacuous safety of my suburban shelter. One thing I noticed was how close a connection there is between Dawn her friends Chicklet and Concetta and Edina Monsoon and her friend Patsy Stone of Absolutely Fabulous. Like Dawn, Edina is a willful, childish, self-centered grown-up with a daughter who is appalled by her mother's immaturity. Both Taffy and Saffy are the voices of maturity while their mothers and their friends are the irresponsible children.

This really isn't a movie for everyone, but over the years I have been introduced to John Waters movies and they re my guilty pleasure! Before John Waters became mainstream, he made a whole series of art-house movies like this using grotesque characters and ridiculous story lines, but somehow they worked. I guess you gotta be a little weird and twisted in the head to enjoy them!!!! He should not be dismissed as a Director who's out to shock you for the sake of it, he's showing you a slice of life that most of us have no real knowledge about. Of course, all the characters are larger than life (in more ways than one!!!). I enjoy his style of movie making - it may be quite amateur in his early days, but you can see that his skill improves with each movie. I'm not ashamed to say that I enjoy a lot of his work!! Mark my words, this movie is certainly NOT for everybody!!! Make sure you know what you are letting yourself in for before you watch it!!!! It's pretty gross in places!! It's so tasteless it's good!!!!

This film is my favorite of all time! All of the great elements of John Waters' films mesh together perfectly in this hilarious romp that operates around the theme of 'crime is beauty.' All of the classic John Waters' actors are here, and most of them give their best performances. John Waters has said that this film is the 'ultimate Divine vehicle', and he's right. Her look literally changes every ten minutes as she mutates from a teenage hair hopper with an attitude to an unwed, abusive mother, to crime fashion model to death row inmate. Divine also has a small male role as the father of her own illegitimate child. Edith Massey, my personal favorite actress, gives her funniest and best realized performance as Aunt Ida, the bitter, veangful fag hag who lives next door. This is not the most accesible of Waters' films, and truthfully, this probably isn't the one to start with if you're not yet a fan (I would recommend Polyester or Hairspray in that case), but if you want to see an early work thats not quite as gross as the others, check it out! Waters himself says that this is his favorite of his underground films.

A relentlessly building, frame-by-frame crescendo of deliberate offensiveness. It grows increasingly difficult to separate the broad satire against square society from the equally obvious, near-Sadean delight John Waters and his uniquely talented company of offbeat Baltimoreans take in discovering and displaying new combinations of the perverse and outrageous in nearly every scene. But tracing the roots of crowd pleasers like 'Polyester,' 'Serial Mom' and 'Hairspray' here (and even further back to 'Pink Flamingos') is somehow yet more odd. Edie Massey alone remains above it all: charmingly oblivious, preternaturally sweet despite her physical unloveliness and, well, human as always, even locked in a cage threatening to gouge out Divine's eyes with her hook. Her best line: 'I don't want no G-d d-mn eggs!'

God bless John Waters. He's made some of the best, crudest feel-good movies, and this is one of his crowning achievements. It's amazing how his film, ugly-looking and full of lipstick-smeared freaks, can feel positive and upbeat; while he's mocking everything in sight, he doesn't stand back and protect himself with irony or winks -- he jumps right in there, and that involvement, that energy, is easy to see and feel. It's amazing that he can feature masturbation with needle-nose pliers, beating a child with a chair, a game of "car accident," and Divine literally screwing himself and not have it be off-putting.

The very idea that Waters uses a fat transvestite with a beehive hairdo to illustrate his scorn for school shows he's not so interested in subtlety. And Divine is awesome, as always, his prissy, gravely scream -- a freak you want on your side. This is one of Waters' best satirical attempts -- there are digs at hippies and Hare Krishnas, and two scenes in particular are very prophetic: the gay encouraging, and the killing for art. Waters even mocks his own shameless exhibitionism in the testimony of the Dashers. 9/10