HAIRSPRAY: Blu-ray (New Line Cinema, 2007) Alliance Home Video

Revisiting Adam Shankman’s Hairspray (2007) is an irreverent clash-back time warp to an exuberant mid-century modern Americana that likely never existed – except on TV. Based on John Waters’ 1988 comedy - itself, a love affair and homage to a simpler time - and, more directly, the Broadway musical that Water’s cult classic spawned, this high octane and ultra-star-powered frenetic ‘feel good’ is a total blast off into toe-tapping electricity. Bursting with one infectious tap-happy tune after the next (Good Morning Baltimore, I Can Hear The Bells, There’s A Light in the Darkness, The Blacker the Berry The Sweeter the Juice, and so on), Hairspray owes much more to the pop operas of Andrew Lloyd Webber than the classic Hollywood film musical. Indeed, there is very little exposition sandwiched between these songs – a circumstance that can get just a tad oppressive mid-way through the movie. What consistently buoys it from start to finish are the truly outstanding performances; the enchantingly full-figured Nikki Blonsky (in her movie debut) as the ever-optimistic Tracy Turnblad, who can shake-it, shake-it, shake-it likes she wants to – and does, with style; Zac Efron, then, still looking as though he had not quite graduated to long pants – but, boy, could that kid sing - as the slick and stylish prepubescent heartthrob, Link Larkin; James Marsden, playing a fresh-faced ‘Dick Clark-esque host of the Corny Collins Show, and, Elijah Kelley as the ‘token Negro,’ Seaweed Stubbs, with a powerful message to relay about the changing times. Hairspray also, and rather ironically, marked an end to the promising career of Amanda Bynes, by far, the most impressive of the new to view talents, then launched from the now defunct Nickelodeon network, poised – or so it would have seemed then – for utter greatness, playing to the hilt, ditzy best friend, Penny Lou Singleton. Hairspray also had its share of ‘stars’ – most highly profiled of the lot, John Travolta in drag as Tracy’s mum (a role originally played ‘in drag’ by Waters’ alumni, Harris Glenn Milstead – better known to the world by his stage name: Divine), Christopher Walken, as Tracy’s dad, Michelle Pfeiffer, as Velma Von Tussle, the bitchy and chain-smoking TV producer backed by Ultra-Clutch (think Aqua-Net on crack), and last, but certainly not least of all, Queen Latifah, taking ‘this mother home’ in the movie’s climactic production number, You Can’t Stop the Beat. Whew!

Hairspray is one of those happy good fortunes; a stage bound musical to have translated even more superbly to the more expansive canvas of the motion picture, losing none of its potency and/or charm along the way, if, in fact, dropping several songs beloved by those who saw it on Broadway. On its opening weekend alone, Hairspray ranked #3 at the box office with a formidable take of $27.5 million, making it the record-setter of any movie based on a Broadway musical at that time. Judged by the critics unfavorably – and rather unfairly – to Waters’ original campy classic, the musical version of Hairspray would go on to rake in a domestic gross of $118.9 and $202.5 million worldwide, making it only the third movie musical in history to break the $200 million mark internationally, behind 1978's Grease and 2002's Chicago. In addition to tweaking the lyrics of ‘The Legend of Miss Baltimore Crabs’, ‘Big, Blonde and Beautiful’ and ‘You Can’t Stop the Beat’, co-lyricists, Marc Shaiman and Scott Wittman agreed to retire several iconic tunes from the Broadway original, mostly for time constraints, but also, when it was believed the theatricality of these numbers impeded any translation to the movie format. Such was the case for ‘Mama, I’m a Big Girl Now’ – sung by Tracy, Penny and Velma’s daughter, Amber (Brittany Snow in the movie) in a tri-panel effect that could only have been duplicated for the movie using a split screen effect, which neither appealed to Shaiman and Scott, nor Shankman. Also thrown under the proverbial bus, ‘It Takes Two’ – a solo for Link, neatly replaced by the more exuberant, ‘Ladies Choice’; plus, the largely disposable ditty, ‘Boink-Boink’, used as a transition piece on the stage, ‘The Big Dollhouse’ (as, in the movie, Tracy never goes to jail as she did on Broadway), and ‘Velma's Revenge.’ Shaiman and Wittman also wrote ‘Come So Far (Got So Far to Go)’ – expressly for the movie; alas, used only under the end titles, but memorably sung by the entire cast.

The Broadway incarnation of Hairspray had swept the Tony’s in 2003, winning a whopping eight awards; proof enough for New Line Cinema that a movie version was in order. Chicago’s creative team of Craig Zadan and Neil Meron were brought in to produce, with talks immediately begun to cast either Travolta or Billy Crystal as Edna Turnblad, with Jim Broadbent strongly considered the frontrunner to play her husband, Wilbur (the part eventually going to Christopher Walken instead). Although Thomas Meehan and Mark O'Donnell, coauthors of the stage musical, contributed a first draft screenplay, they were replaced by Leslie Dixon, known for her family comedies; Mrs. Doubtfire and the reboot of Freaky Friday. Dixon’s instructions were simple; to tone down the innate ‘camp’ in the Broadway show and give these cartoony characters more of a soul. Inevitably, several of the Broadway show’s secondary characters were dropped, as Dixon concentrated on evolving the mores and manners of the principles instead. Shankman’s participation extended, not only to direct, but also choreograph the various high-spirited dances. To this end, Shankman brought in no less than three assistant choreographers, Jamal Sims, Anne Fletcher, and Zach Woodlee, and a vocal coach, Elaine Overholt to put his cast through the paces. In pursuing the project, Shankman also received a bit of helpful instruction from John Waters who encouraged him not to attempt to ‘recreate’ – nee, mimic - the magic of either his original movie or the Broadway show.  Taking this advice to heart, Shankman began by hiring Tory Gardner to hand-craft a new look for Edna, with costumer, Rita Ryack basically encasing John Travolta’s slender frame in a silicone ‘fat suit’ with foam and latex arms and legs, onto which several ‘revealing’ outfits were sewn. The other alteration to Travolta’s character was in attitude. Virtually all of Edna’s past incarnations had leaned toward a bold and brassy maven with an air of self-confidence. This time, Edna would go the other way – shy and self-conscious, that is, until Motormouth Maybelle and her own daughter, Tracy shows her the ways to real happiness.   

Budgeted at $75 million, Hairspray was shot entirely in Toronto and Hamilton, Canada, subbing in for Baltimore, primarily to take advantage – not only of Toronto’s premiere sound stage facilities for the big production numbers, but also Ontario’s tax credits. Hairspray auditioned over eleven hundred candidates for the plum part of Tracy Turnblad before ‘discovering’ Nikki Blonsky, a high school junior from Great Neck, New York, working at a Cold Stone Creamery at the time.  In reviewing Blonsky’s performance today, it is incredible to reconsider that the girl had absolutely NO formal acting experience to date, but possessed the heart of the character in spades, wed to a dream to one day play the part on Broadway. Toronto’s Showline Studios played host to Hairspray’s interior sets, with exteriors lensed on Dundas Street and Roncesvalles Avenue. Toronto's Lord Lansdowne Public School was also used for the high school exteriors, while Queen Victoria School in Hamilton – more from the vintage depicted in the movie, but slated for demolition, provided the interiors. Miraculously, the Queen Victoria never closed after shooting wrapped and is still in operation today. In laying out his musical opener, Shankman drew inspiration from two iconic Robert Wise musicals – West Side Story (1961) and The Sound of Music (1965) – his bird-like descending from the clouds to the streets, thinly reminiscent of the helicopter shots in both aforementioned Wise masterpieces. For Blonsky’s entrance, Shankman took a cue from Joan Crawford’s build-up in 1932’s Rain, showing only Blonsky’s disembodied arms and legs first, then the back of her head, before revealing the character of Tracy Turnblad in full figure. Shankman also paid homage to William Wyler’s Funny Girl (1968) during the song, ‘Good Morning Baltimore’, showing Blonsky in a very Streisand-esque approach, perched atop a garbage truck (Streisand, performing essentially the same moves aboard a tug in Wyler’s classic).

Our story begins with Nikki Blonsky as irrepressible, Tracy Turnblad – a hefty chunk of a girl who does not let what others think of her girth wound her opinions of self-image. Tracy’s mad obsession with the local Corny Collins’ Show (an obvious rip-off of American Bandstand) leads to her auditioning as a replacement after one of the dancers becomes pregnant. The show’s host (James Marsden) keeps an open mind. But its producer, the libidinous racist, Velma Von Tussle (Michelle Pfeiffer) is determined to keep ‘fat’ girls off the air – especially when Tracy proves to be a real threat to her own ‘Suzie Cream Cheese’ daughter, Amber (Brittany Snow) winning the local 'Ultra Clutch' high hair competition. Initially, Tracy’s mother, Edna (John Travolta), a weighty gal with confidence issues, somewhat embittered but lovable, is all too quick to discount Tracy’s dream. But then, the unexpected happens. Tracy wins the role as Corny’s replacement dancer – no small thanks to her instructor and friend, Seaweed (Elijah Kelley) – a non-Caucasian who is only allowed to dance on The Corny Collins Show on Negro Day.

Overnight, Tracy becomes a local celebrity – her status to further infuriates Velma and sponsor, Mr. Spritzer (Paul Dooley), neither supporting racial integration on the show. In the meantime, Mr. Pinky (Jerry Stiller) the proprietor of the Hefty Hideaway Fashion Emporium, transforms Edna and Tracy into glittery gobs of glam-bam for his own ‘fat is beautiful’ marketing campaign. Alas, Tracy’s popularity has thrown a real crimp into Amber’s lust for teenage heartthrob and fellow dancer, Link Larkin (Zac Efron), who very quickly realizes there is so much more to Tracy than meets the eye. Thus, an even more unlikely romance ensues. Now, Tracy introduces Seaweed to her best friend, Penny. Romantic sparks immediately fly between the two. Hence, with some consternation, Seaweed and his kid sister, Little Inez (Taylor Parks) take Tracy, Penny, and Link to a party at Maybelle's (Queen Latifah). Edna nervously tries to take Tracy home. But Maybelle encourages them to remain, instilling a note of confidence in Edna, who sorely lacks it. Regrettably, news arrives Velma has cancelled ‘Negro Day’ out of spite.  In reply, Tracy suggests a protest march in support of integration. Unwilling to jeopardize his career, Link abstains from these plans, incurring Tracy’s ire. Returning to Wilbur’s shop, Edna discovers Velma attempting to seduce her husband. Enraged, she forbids Tracy to appear on the program anymore. Dreams are one thing. And it was all fun and games for a while. But now it has to stop.

Despite bitterly agreeing to these terms, Tracy nevertheless sneaks out to join the protest, halted by a police blockade. After a brawl between the protesters and the police erupts, Tracy takes refuge inside Penny’s family’s fallout shelter. However, Penny's mother, Prudy (Allison Janney) reports Tracy to the police. Meanwhile, Wilbur bails out Seaweed and helps Tracy and Penny escape. Link returns to Tracy's house, confesses his shame and professes his loves for her. To ensure her own daughter, Amber will win the Ultra Clutch dance-off, Velma orders police to stand guard outside of WYZT to prevent Tracy from crashing the contest. She also rigs the tallies in Amber’s favor. Meanwhile, Penny arrives with Edna in tow. Behind the scenes, Wilbur, Seaweed, and the rest of the protesters quietly smuggle Tracy into the studio. As the prizes are about to be announced, Tracy arrives unannounced and begins to rock the house with her dance moves. The audience is enthralled and Velma, unable to publicly halt the show without embarrassing herself, stands by helplessly as Penny, Edna, Seaweed and Maybelle take over, introducing integrated dancing on live TV for the first time. Link escorts Little Inez to center stage and, miraculously, she is awarded the title and the crown of best dancer, despite Velma’s interference. Denouncing the sponsors as purveyors of aerosol-born/cancer-causing agents, her comments are caught by the camera, forcing the sponsors to fire her on the spot. As Corny champions the show’s new progressive attitude, the cast burst into song, with Link and Tracy indulging in a wet smooch, center stage.

Beneath its mindless froth and poppy tunes, Hairspray’s message of racial tolerance rings loud and clear. This really isn’t a message movie though; more of a quaint and quaffed look back at a particular crossroads in American history through very rose-colored glasses, made glossy and marginally untrue by its big-hearted warm and fuzzy ‘feel good’. Still, it is rather refreshing to see a movie make its points and not take itself too seriously. Point made. Point taken. Moving on - Christopher Walken makes the most from his minor role as Tracy’s eternally idealistic father – despite being trapped in a dead-end job and nearly accused of marital infidelity under false pretenses. Queen Latifah sells her wares as Motormouth Maybelle - the Corny Collin's co-host on Negro Day.  We love the Queen, and she is in very fine voice in Hairspray. As an homage to the original creator of our show, director/writer, John Waters makes a joyously silly cameo in this musical reboot’s opening number, as a flasher exposing himself (mercifully out of camera-range), though much to the disgust and humiliation of a trio of superficially glossed and polished hairdressers.  The entire cast here is imbued with a sparkle and zest for the material – particularly Blonsky who – with a simple wave of her chubby little fingers - actually makes ‘fat’ all that and very sexy besides. There may be better musicals out there – ones more technically accomplished, or sporting a pedigree of more highborn merits. But Hairspray, with its lowbrow humor and toe-tapping score, wins its audience on fun alone, and this is quite enough as we come to have a damn good time being outspokenly rambunctious. The exuberance here is infectious. It’s true. You really can’t stop this beat! Nor would you want to.

Alliance Home Video's Blu-ray is a winner. Although this hi-def transfer is well over 10 years old (ten years?!?!? Where has the time gone?) Hairspray in hi-def looks positively scrumptious. What a 4K rendering could do to improve what is here? I suppose we will have to wait and see. For now, Alliance has afforded this catalog release all of the bells and whistles to make one forget 4K even exists. This image exhibits exemplary clarity. The razor-sharp visuals are solid and do not suggest any untoward digital tinkering has occurred to refine them.  Colors are eye-popping bold, rich and fully saturated. Reds are blood red and greens, blues and lemon yellows all explode onto the screen in a pastiche of hues unseen since the days of vintage 3-strip Technicolor. Wow! Better still, flesh tones appear very natural. Contrast levels are bang on; blacks are deep and solid and whites, pristine. You are going to love the way this one looks – an appreciation matched by exposure to the 5.1 DTS audio. Hairspray’s soundtrack is a real powerhouse, given full exposure here. Get ready to snap your fingers and tap your feet. It’s that good.  Extras include several featurettes on the making of the movie, outtakes, interviews and an audio commentary track. Bottom line: highly recommended!

FILM RATING (out of 5 - 5 being the best)

4

VIDEO/AUDIO

5+

EXTRAS

3