Very Crudely Yours: The John Waters Collection (1972-2005) [Re-UP]

The only thing better than one John Waters movie for a solid evening of trashy entertainment is seven, and thanks to the folks at New Line Home Video, Waters fans can now enjoy a gleefully offensive, career-spanning collection of his most memorable films in this set that's sure to give the neuters nightmares! All seven films, including Pink Flamingos, Female Trouble, Desperate Living, Polyester, Hairspray, Pecker, and A Dirty Shame, are presented in their original aspect ratios in addition to featuring outrageously entertaining commentary by the director (other bonus materials vary from disc to disc), with a bonus disc offering a variety of audio and video clips detailing Waters' life from childhood to his current status as the Sultan of Sleaze!

Kill everyone now! Condone first-degree murder! Advocate cannibalism! Eat shit! Filth is my politics! Filth is my life!

Divine, Pink Flamingos

Once upon a time, John Waters was the Jesus of Cool. He was, and still continues to be, the blasphemous god of the gross out. He made his name initially by getting a drag queen to eat dogshit on camera, and parlayed that blatant publicity stunt into a fascinating career filled with magical, mesmerizing movies. And he did it without the help of the mainstream. In an era (the '70s) where auteurism was championed as the cinematic equivalent of the Beatles, Waters and his wicked collaborators at Dreamland Studios became the Velvet Underground. With a penchant for provocative, puerile subject matter, and a group of friends willing to do anything to make his vision come to life, the writer/director's demented DIY spirit set the groundwork for the emergent indie scene, created the midnight movie, drove punks' penchant for provocation, and rewrote the rules on how to be a cinematic success.

Now, nearly four decades after he began his journey into the celluloid cesspool, Waters is finally getting some manner of due. New Line Cinema, long a champion of the artist, is releasing a near-definitive box set which follows the filmmaker's career, from his first major success (1972's Pink Flamingos) to his most recent slice of endearing indignation (2004's A Dirty Shame). In between we get glimpses of the spirited social commentary and downright insane sense of humor that made Waters a beloved belittler of modern morays. If you love the man and his moviemaking madness, this is a definitive collection (albeit one that treads heavily on dreaded double-dip territory). If you've always been curious about Waters and his pencil-thin perversity, Very Crudely Yours is a great place to start. You get his best works, his most accessible films, and a couple of buried treasures that have often paled in comparison to their far more famous brethren.

DVDVerdict

On the lam from the law and looking for a place to hide, the infamous Divine (Divine) and her family—traveling companion Cotton (Mary Vivian Pierce), seedy son Crackers (Danny Mills), and overweight mother Edie (Edith Massey)—are holed up in a trailer on the outskirts of Baltimore. Labeled "The Filthiest Person Alive" by the tabloids, she must keep a low profile. Naturally, her presence in the vicinity draws the ire of local degenerates Connie and Raymond Marble (Mink Stole and David Lochary). This sleazy couple kidnaps hitchhikers, uses their butler to impregnate them, and then sells the babies to lesbian couples. They plan on proving to Divine once and for all that they are the grossest individuals on the planet. But our big, bad beauty won't take this challenge lying down.

This is the film that all the hard work and homemade moviemaking delivered, a demented comedy that defecates on everything the '60s stood for, and then allows the drag queen in the lead to eat in, right on camera. With one simple 100-minute spectacle, John Waters invented the gross-out comedy, the midnight movie, and outsider cinema. Pink Flamingos is exploitation filtered through a fan's flawed notions of glamour and notoriety. It's an excuse for excess and a rant against what another John (Lydon) would call "free love hippy shite." Though it has foundations in the Manson Family (as do most of Waters' films), the growing tabloid nature of entertainment (yes, even in 1972) and the subjectivity of scandal, this is still perhaps Waters' most personal film (second only to Hairspray for oddly similar reasons). It incorporates his entire soiled psyche, mixed up and muddled with drugs and defiance, and poured out over ideas that he finds incredibly funny. It's the closest you will come to knowing this often unknowable enigma short of lopping off his head and feasting on the gooey goodness located within. Even then you may be left with more mess than mystery solved.

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In essence, Pink Flamingos is an incredibly twisted game of cinematic one-upmanship. Waters is purposefully playing with his audience, offering more and more audacious antics to his plot, characters, and situations to see just how much you can take. Sure, there is something seditious and comical about the infamous "singing anus," or the "crotch shoplifting" scene. And when Divine walks down the main street in Baltimore throwing grand glamour fits, the reactions from the puzzled passersby model those of any viewing audience. True to his tenets, Flamingos was Waters' exercise in filth, in that it wants to bring as many repugnant and redolent social issues to the forefront as possible. Instead of peace and love, this filmmaker celebrated piss and vomit. Flamingos presents a place where transsexuals flash flashers, where butlers impregnate kidnapped hitchhikers, and psychotic old ladies screech their unhealthy adoration of eggs. With all it has influenced, no one has managed to top Waters' nightmare nod to the American dream. And three decades later, it's hard to imagine that anyone could.

DVDVerdict

Dawn Davenport (Divine) is a juvenile delinquent, always in trouble both at home and school. After an altercation with her parents on Christmas morning over a pair of cha-cha heels, Dawn runs away from home. She is raped by a mechanic named Earl (Divine) and soon gives birth to a baby, who she calls Taffy (Mink Stole). Living life as a petty thief, Dawn meets Gator (Michael Potter), a hairdresser. They marry, over the objection of Gator's fag hag Aunt Ida (Edith Massey). Gator works at The Lipstick Beauty Saloon, run by Donna and Donald Dasher (Mary Vivian Pierce and David Lochary). They instantly see Dawn as their next big "discovery," They have a twisted concept that crime is "beautiful" and want this eager gal to be their outlaw model. Thus begins a felonious spree that leads Dawn to a decisive day in court.

As his second certifiable masterpiece, Waters decides to take on the growing cult of public personality by marrying his fixation with classic Hollywood trash ala Douglas Sirk with the increasing public fascination with true crime. The result is a movie that masquerades as a melodrama, but actually becomes a true comic gem. Female Trouble is Waters first real "film" in every one of the traditional senses. He sets up a linear plot, walking us through the horrible, hard-knock life of his heroine Dawn Davenport, and then peppers said story with his usual passions and insights. Told in episodic fashion (complete with tacky title cards), it proved that Waters could work within the confines of the traditional narrative form. Before, his films always had the kind of clothes-hanger plots made famous by porno and exploitation. They had the most basic of premises upon which all kinds of chaos could be crafted. But Female Trouble relies on its story for its momentum as well as its merriment. Without the rise up and flame out of our heroine, we'd never experience many of the movie's most hilarious ideals.

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This is also the first time when Waters' main muse, Divine, finally came into her own as an actress. Before, she was shock value, a big blousy man in Elizabeth Taylor tatters hoping to overwhelm the audience with her audacity. Here, Divine is Dawn Davenport, a true fictional creation on par with the other long-suffering heroines of the films Waters is riffing on. Her exchanges with daughter Taffy (the always amazing Mink Stole) are priceless, and when Divine does a derivation of her infamous stage act for the film—involving a trampoline, contemptible claims, and lots and lots of fish tossing—we feel it is part of Dawn's demented nature, not just another cinematic stunt. Perhaps the best part of the entire story centers around the subplot involving Dawn's husband, Gator and his overbearing Aunt Ida. Edith Massey's pro-gay rants are amazing, and she delivers them with such good-natured cheer that you want her nephew to go Nancy just to make her happy. Combined with the other fine performances and Waters' own private peculiarities, Female Trouble stands along side Pink Flamingos as a sure sign of this director's depth and talent.

DVDVerdict

Peggy Gravel (Mink Stole) has just returned from a stay at an asylum, and things are not going well. During a decisive meltdown, she kills her husband with the help of her obese maid Grizelda (Jean Hill). Frantic to escape their fate, they end up in a strange place known as Mortville. Run by cruel Queen Carlotta (Edith Massey), Mortville is a dictatorship where the citizenry are all hiding from some manner of unspeakable past. Peggy and Grizelda end up renting a room from Mortville residents Mole McHenry (Susan Lowe) and her partner Muffy St. Jacques (Liz Renay). But when the Queen's disgruntled daughter, Princess Coo-Coo (Mary Vivian Pierce) escapes the castle to be with her nudist garbageman boyfriend, Peggy and her pals get caught up in a whirlwind of political intrigue.

Without Divine (who could not appear because of a long-standing contractual commitment to star in a stage show), Waters was left to fill a major void in his Dreamland company. In addition, longtime friend and frequent co-star David Lochery had recently died of an overdose. The resulting gaps are apparent in Desperate Living, a movie that feels like three separate films fused together. The first and the second are fantastic. Mink Stole, as perhaps the most hilarious insane person ever to scream across the silver screen, drives the domestic drama. Along with overweight maid Grizelda (the equally riotous Jean Hill) , the first 15 minutes of this movie absolutely sizzle with sensational subversion. And once we meet Mole and "his/her" gal pal Muffy St. Jacques, we are equally intrigued. Susan Lowe is sensational, adding a real depth of anxiety and obsession to her dyke lesbian character.

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The notion of Mortville, however, is a little hard to get a handle on. Waters obviously wants to create a kind of anti-fairytale kingdom, a place where fantasy is flushed and dreams die the death of a thousand screams. But aside from Edith Massey's masterful turn as Queen Charlotta, the whole repellent realm makes little sense. Though the name is derived from "mortified," it is hard to understand what nudists and leathermen have to do with such a concept. Also odd is the inclusion of Waters' first certified famous face into the mix. As said before, Desperate Living was without a few of the Dreamlanders, and Waters resorted to stunt casting—the purposeful positioning of a known celebrity into his whacked-out world of weirdness—to compliment his company. As the newbie of the group, flamboyant burlesque queen Liz Renay is actually pretty good, giving a certain tired authority to her role of housewife turned outcast. That being said, this is still an exceptional film, one fully in tune with the times it was made. Waters' intent was to make a homosexual heterosexual sudser, and he more or less succeeds, though it's better in some places than others.

DVDVerdict

Francine Fishpaw (Divine) is married to Elmer (David Samson), who runs the local adult theater. She has an incredibly hard life. Her daughter Lu-Lu (Mary Garlington) is a slutty whore, always skipping school and hanging out with neighborhood bad boy Bo-Bo Belsinger (Stiv Bators). Her son Dexter (Ken King) is the Baltimore Foot Stomper, a psycho with a strange shoe fetish. Her mother is a horrible, abusive shrew, and Elmer is having an affair with his skeezy secretary, Sandra (Mink Stole). Finally fed up, Francine files for divorce and seeks solace from her best friend, neauveau riche ex-maid Cuddles Kovinsky (Edith Massey). Sinking deeper into depression, Francine hits the bottle. But after meeting new beau Todd Tomorrow (Tab Hunter), things are looking up for the harried housewife—or are they.

Along with the film that followed it, Polyester remains one of the true oddball gems in Waters' oeuvre. More famous for its William Castle-inspired gimmick, "Odorama," (nothing more than a card filled with scratch and sniff spots), and casting of former teen idol Tab Hunter and punk rocker Stiv Bators than anything that happens on screen, this silly suburban soap opera is often overlooked when Waters is discussed. On the surface, it's not hard to see why. Polyester may be one of the few times when Waters tried to expand his cinematic language at the expense of his usual verbal variety. Aside from Lu-Lu's laughable lines about dancing for the boys during lunch period, we don't get a lot of memorable quotes. Also, Divine's character (Francine Fishpaw) is a real downer, a depressed, put-upon alcoholic who never quite achieves the redemption (or revenge) we are hoping for. Even when her harried life seems to turn out fine, we've not had a chance to wallow in Francine's fetidness. So her salvation seems superficial.

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Still, Waters can't make a bad movie, and Polyester still has its fair share of sensational moments. For the last time in Waters' world, Edith Massey makes an appearance, playing the crackpot character of servant-turned-debutante Cuddles. Her proto-preppy outfits and broken French pronunciations are just a few of the humor highlights we witness whenever she appears onscreen. Equally interesting is Bators, who undermines his tough guy image by playing one of the most battered bullies around. The rest of the cast is able (including Hunter, who seems just a little too clued in on the jokes for this kind of film), but Waters' writing kind of lets them down. Instead of really exploring the porn world (Francine's husband runs the local adult theater), Waters goes back to the camp and kitsch potboiler well once again. Thankfully, this will be the last time for a while that the director relies on such Tinseltown trappings to tell his story. Polyester is perhaps the lesser film here, but in a canon as creative as Waters', that is faint damnation, nothing more.

DVDVerdict

"The Corny Collins Show" is a hit with all the teens in the Baltimore of the early '60s. Appearing on the TV dance party as one of the esteemed "Council" is the dream of local fat girl Tracy Turnblad (Ricki Lake). Naturally, her obsession with the show drives her parents (Divine and Jerry Stiller) crazy. As luck would have it, Tracy does become part of the Council. This makes snobby blond Amber Von Tussle (Colleen Fitzpatrick) livid, especially when Tracy steals her boyfriend, Link (Michael St. Gerard). Amber is still intent upon winning the Miss Auto Show Beauty Contest, and her parents (Sonny Bono and Debbie Harry) will stop at nothing to make sure it happens. When racial tensions and integration issues threaten to tear the town apart, Tracy is made a scapegoat and jailed—right before the big pageant.

Hairspray will always be that moment in the John Waters' canon when fans and casual observers looked at the final film and gave a collective sigh of "huh?" It was rated PG. It did not contain graphic language, sleazy sexual content, or outright human depravity. It offered a sweet, nostalgic look back at Waters' childhood, to a time when the filmmaker was obsessed with the clean teens that danced on the local Buddy Deane Show. And it was nearly a musical in presentation. Anyone who knows the man, however, can see how Hairspray is the silver lining surrounding a demented dark cloud like Pink Flamingos. In fact, it's the material that dictated the direction the film would take, just as it does in all of Waters' works. Hairspray could not be a carbon copy of early Dreamland. It also couldn't mix wistfulness with wantonness without having the whole project implode. Instead, Waters decided to play it straight, and deliver a delightful, timeless tale of personal perseverance and social acceptance.

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Hairspray as a film is as much about race as it is dated dance moves. It highlights hate as much as hair. As the young and old version of the same female archetype, Divine and Ricki Lake let feminism and empowerment seep into the stereotypes they embody (funny fat girl and frumpy fishwife, respectively). It is interesting to note that Waters never makes fun of overweight people in his films. Instead, he presents them like he does any other member of a minority. In Hairspray, pretty white people are insensitive, prejudiced trash, while outsiders, both racial and social, are far more in tune with their sense of self. They come across as happy and determined, more intelligent and insightful than their crass Caucasian counterparts. Perhaps what throws off Waters' fans the most is the feel-good nature of the film. This is a movie where good is rewarded, evil is rejected, and happy endings replace ambiguous, sometimes awkward finales. Certainly Waters would argue that all his films end on an upbeat note. But this is the first time the joy seems genuine, not just perversely plastered on.

DVDVerdict

Pecker (Edward Furlong) is a relatively happy young man. He is dating Shelly (Christina Ricci), the owner of the local laundromat. His mom (Mary Kay Place) runs a thrift store where she can keep an eye on his baby sister, Little Chrissy, who is hopelessly addicted to sugar. His dad operates a favorite tavern, while big sis Tina (Martha Plimpton) talks trade with the customers at a gay bar. Pecker (named for his habit of eating like a bird) loves to take pictures and, one day, he holds a showing of his "art" at the sub shop where he works. Rorey (Lili Taylor) a local gallery dealer from New York, stumbles upon the exhibition and is immediately smitten. She decides to represent the budding photographer, and soon Pecker's life is all press and publicity. But instead of making him happy, fame is tearing his friends and family apart.

After two trips back in time, Waters stepped directly into the present for Pecker, perhaps his most underrated movie. Many people don't "get" this film, mainly because it seems so slight in its storytelling. At heart, Pecker is just about a boy who becomes a famous outsider artist—and then rejects it for a real life with family and friends. In some ways, Pecker is Hairspray with Kodak film stock, or Crybaby without the juvenile delinquency angle. It does mark Waters' return into written brilliance, since the script here is loaded with amazingly memorable lines. Whenever you can have characters championing naked vagina, or arguing over the place that straight/gay oral activities have in their life, you know you're back on track. And yet Waters is continuing his ascent out of the gutters with this film, a rise he began during Polyester. He is still using all the idiosyncratic ideas in his head to fuel his fun, and the movie is loaded with enough nods to the filmmaker's real-life past (shoplifting, photography) to feel almost autobiographical. But just like Woody Allen working outside of NYC, Waters is treading outside his usual unusualness.

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Many may not know that Waters is himself an artist. His work consists of photo montages made up of images captured from old films. Waters takes snapshots of scenes, and then organizes them chronologically to try and tell a story. He is well known for these pieces, and has had several successful shows around the country. So this is less of an attack on the art world, and more of an endearing chiding of some of the realm's "ridiculous" ideas. Like Hairspray, there are a greater number of acting professionals than friends in the cast, and the juxtaposition is just plain odd. Seeing famous Dreamlanders like Mary Vivian Pierce, Susan Lowe, and Mink Stole in nothing more than cameos is initially disheartening. But Waters is attempting to take his message to the masses. He wants everyday people to embrace his semi-shocking ways, and knows that celebrity sells ideas a lot better than burnt-out ex-delinquents who are now entering middle age (no matter how magical they are). Though it can appear that Waters has lost some of his edge, he is regaining his skill with a script. And when it comes to this filmmaker's features, words are more important than wackiness.

DVDVerdict

Sylvia (Tracey Ullman) and her husband Vaughn (Chris Isaak) are an average married couple. One day Sylvia is struck in the head by a lawnmower handle. Suffering from a concussion, Sylvia becomes a sex addict. Offering to help her recover is well-known "sex saint" (and car mechanic) Ray Ray (Johnny Knoxville) who promises to "heal" Sylvia. Soon, the former prude discovers that her entire town is overrun by sex addicts. Her neighbors are swingers, there are gay "bears" living in the house down the street, and her stripper-wannabe daughter Caprice (Selma Blair) has had her breasts massively enlarged so she can entertain patrons at the local biker bar. It is up to Sylvia's mother, Big Ethel (Suzanne Shepard), and her friend Marge (Mink Stole) to save the neighborhood "neuters" from these daring deviants.

"Don't call it a comeback," to quote a certain rapper loved by the ladies. A Dirty Shame is not a "return to form" or a "revisiting of Waters' divine, demented days." Instead, this is a cinematic report card, a prospectus on where Waters sees his purpose post-millennium. After taking the entire indie scene to task in Cecil B. Demented (which few saw as the outright rejection that the filmmaker intended it to be) , Waters wants to move back to his own personal obsessions. He also understands that, at his age, what was once situated so far out in left field that it couldn't be seen with regular entertainment glasses is now part of the nightly lineup on MTV. Therefore, he is not out to rewrite the rulebook for those who only get it partly right in the first place. Instead, the Godfather of Gross is here to show the wannabes how it's done, and he delivers another near masterwork in the process.

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It's actually fairly surprising that Waters hasn't made this kind of film before. Sex has always played a huge part in his oeuvre, but he's never been as specific before as he is here. A Dirty Shame is a fabulously funny exploration of fetishism, a look at the ever-more-insane ways people find to "get off. " Certainly, some of the concepts are incredibly old hat (Bears and Swingers have been around for ages) , but the look at plastic surgery disasters (Selma Blair's breasts are a true work of effects art) and Springer-style infantilism (the creepiest of the carnal cravings) really works. So do the tirades. Mink Stole is back in rarified form and her efforts are electric. Whether it's discussing the wave of pubis shaving in the neighborhood or championing her own "neuter" status, she is classic. So is Susan Sheppard. Big Ethel gets as many great lines as Mink, and this theater stalwart delivers her delicious rage in literal laser beams. She seems to be piercing the other characters with her anger. Sure, the ending makes little sense, and Waters doesn't push the boundaries far enough (no scat sex, sadly). But A Dirty Shame shows that this once controversial director still has more than a few hot-button ideas up his ink pen.

DVDVerdict

There is also an eighth disc in this set, an official DVD release that originally came as part of a special offer. New Line once allowed anyone who bought the original double-packs a chance to redeem their proof of purchases for something called The John Waters Scrapbook. Presenting a timeline look at Waters' life and career, we are treated to film clips, outtakes, EPK pieces, audio interviews, documentary featurettes, and a wealth of personal and promotional photos. For this one mammoth presentation alone, the set is worth the price of digital admission.

It must be odd for Waters to look back on his career and see how far he, and his beloved cinema, have come. He started out as the most underground of agitators, his films either banned outright or left to play in church basements. Gradually, his irreverent brand of humor hit enough nerves to get him out of the cellar, and into the late-night slot at the local Bijou. Again, notoriety and publicity compelled him further into the mainstream, and soon he was setting as many trends as he was following. By the time Polyester rolled around, he was nearly legitimate. But true mainstream acceptance wouldn't arrive until Hairspray, Crybaby, and Serial Mom proved he was more than just the proud Prince of Puke. Now, a film like A Dirty Shame seems tame by South Park standards, as the humor of outrageousness, vulgarity, and the patently absurd is currently all the rage. Yet Waters is much more than that. His scripts sing with uncommon brilliance, and he certainly has a snide attitude when it comes to normal society. But today, everyone thinks they're an outsider, so where does a true interloper reside? The fringes are full after all. The answer, oddly enough, is right on top of the pile, exactly where he belongs. Here's hoping there's another 40 years in Waters' wicked oeuvre. Without him, where would future generations get their comedic guidance?

DVDVerdict

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http://www.uploadable.ch/file/uKM2cndeeR9Z/Water.DirSam.part01.rar
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http://www.uploadable.ch/file/AyQAHsa67TBR/Water.DirSam.part05.rar
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http://www.uploadable.ch/file/WxHgheRUvwTS/Water.DirSam.part11.rar

http://www.uploadable.ch/file/dAP7tfQpA85u/Water.FemTroub.part1.rar
http://www.uploadable.ch/file/CKaXCj7BXStP/Water.FemTroub.part2.rar
http://www.uploadable.ch/file/qQ9BRjwaa8mz/Water.FemTroub.part3.rar
http://www.uploadable.ch/file/sCkAarBUAVAN/Water.FemTroub.part4.rar
http://www.uploadable.ch/file/xrGsBrcweSPn/Water.FemTroub.part5.rar
http://www.uploadable.ch/file/jGb6apndB7GS/Water.FemTroub.part6.rar

http://www.uploadable.ch/file/C7TCUqqVHpcy/Water.HaiSpray.part1.rar
http://www.uploadable.ch/file/yQ8CS45y52eN/Water.HaiSpray.part2.rar
http://www.uploadable.ch/file/URWTDMr3wrhF/Water.HaiSpray.part3.rar
http://www.uploadable.ch/file/a29YtRwGwk3U/Water.HaiSpray.part4.rar
http://www.uploadable.ch/file/QPNgkFyZAvTm/Water.HaiSpray.part5.rar
http://www.uploadable.ch/file/3qGNJPn2X5jX/Water.HaiSpray.part6.rar

http://www.uploadable.ch/file/jVZ2Ckdq9YzU/Water.Peck.part1.rar
http://www.uploadable.ch/file/d764tBbMpF8Z/Water.Peck.part2.rar
http://www.uploadable.ch/file/MY4sANfyyuFv/Water.Peck.part3.rar
http://www.uploadable.ch/file/YhJkPxwP5tEw/Water.Peck.part4.rar
http://www.uploadable.ch/file/BSjCWMBCKmTf/Water.Peck.part5.rar
http://www.uploadable.ch/file/znncUtG8MKve/Water.Peck.part6.rar

http://www.uploadable.ch/file/mvHZRrSHV5SJ/Water.PinFlam.part1.rar
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http://www.uploadable.ch/file/nN2egtgk6eEB/Water.PinFlam.part6.rar

http://www.uploadable.ch/file/bWnEpWFqACXX/Water.Poliest.part1.rar
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http://www.uploadable.ch/file/gmVADx9uRWp5/Water.Poliest.part5.rar
http://www.uploadable.ch/file/nbu3csUn9teU/Water.Poliest.part6.rar

http://www.uploadable.ch/file/FeKstbDGDdh3/Water.ScrBook.part01.rar
http://www.uploadable.ch/file/RXm23J6zB6tJ/Water.ScrBook.part02.rar
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http://www.uploadable.ch/file/8SesHaYeP6qq/Water.ScrBook.part09.rar
http://www.uploadable.ch/file/QpxtZy39pG3A/Water.ScrBook.part10.rar

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