5 Question Movie Review: Hairspray

Q: Is it possible to get past the sight of John Travolta in heavy drag?

A: Sure it is. There is a lot more to Hairspray than Travolta as Edna Turnblad. But he won't leave your memory easily, either. Sure, it's a stunt, but give Travolta credit. He really puts his all into creating a character, not a walking gag. Plus he goes all the way on the Baltimore accent. Boy, does he go all the way. Others in the cast are charming, including Nikki Blonsky in the lead and Michelle Pfeiffer, who has fun with her villainous character without turning her into Cruella DeVil or Meryl Streep in Devil Wears Prada. It's a charismatic peformance that serves the story and provides fine support for the young leads without upstaging them.


Q: How does "Hairspray" sound?

A: If you are asking about the quality of the songs in this musical, it sounds great. The tunes are catchy, bouyant, and do a fine job of advancing the story. If you mean the actual soundtrack on the film itself--well, I suspect there was a problem at my theater, but the sound was slightly off when I saw it, and there was a constant gargly effect (apologies if I'm being too technical, readers) that was often distracting. Is it any wonder so many people--myself included--are finding more reasons to stay home and skip the moviegoing experience?


Q: So there is a story here? It's not just a bunch of songs?

A: Well, there is a story here centered around Tracy Turnblad's effort to integrate a 60s teen dance show, but really it's mainly an excuse for a bunch of songs.

But the story there is works just fine, and the messages (segregation and conformity are bad) get through loud and clear without becoming annoying. I don't mean to damn Hairspray with faint praise when I say the story is simple. That's true of many of the classic musicals. That's fine as long as the songs are good and the themes resonate. This one has something to say, and it makes you feel good. By my standards, that's a success.


Q: Is this a true musical, then, or one of those gimmick ones like Chicago?

A: There's no dream sequence structure that "allows" the characters to sing. Here, they just sing and dance, even outside of that teen dance show that provides an "excuse" for some of the musical numbers. What's wrong with that? Absolutely nothing. Director Adam Shankman stages most of the musical numbers clearly, too, and gives us enough time to appreciate the choreography if we so desire. He doesn't rely on blazing cuts and tight shots to distract us from the fact that GOODLORDPEOPLEAREDANCING. There's some old-fashioned musical moviemaking here, though still with some modern editing sensibilities. So, yes, it's a true musical.


Q: Is it OK to tap your foot and sing a little after seeing this?

A: You may want to, but I warn you: you will be made fun of. Perhaps you won't be openly mocked, but someone will do so, even if it's under his breath to his wife sitting beside him as you boogie up the aisle--ahem. I'm just guessing. Hey, it's a crowd pleaser of a movie with songs that are era- and thematically-appropriate and still catchy, unlike, oh, I don't want to pick on anything, "DREAMGIRLS." You may want to dance after seeing "Hairspray." But you may look rather silly. Really, though, the movie tells us not to worry about things like that. So go right ahead!