John Waters: A Singular, Sublime Outing with the Pope of Trash
James Brown
A transgressive icon strides into Houston’s cinematic heart on an unassuming evening. The storied John Waters—dubbed the “Pope of Trash” with more pride than irony—brings his most enduring creation, Hairspray, to life again, this time with a devilishly delightful twist. For one night only, Waters will deliver his first-ever live director’s commentary for his 1988 cult classic, captivating cinephiles and first-timers alike. Organized by Arthouse Houston and Houston Cinema Arts Festival, the event is set to become a cornerstone moment of high-low cultural fusion.
The evening promises an irresistible cocktail of cinematic history and irreverent wit. It opens with a pre-show trailer reel—an appetizer to whet the appetites of those familiar with Waters’ world, marked by polyester, camp, and boundary-breaking glee. Then, as the lights dim and the screen flickers to life, Hairspray will roll, its tale of Tracy Turnblad, the “pleasantly plump” teenager who dances her way into stardom and civil rights battles, underscored by Waters’ unscripted commentary. A live director’s take on a film that managed to smuggle radical ideas into the American living room beneath layers of hairspray and bubblegum pop? It’s a subversive coup that only Waters could pull off.
After the screening, a Q&A session will unfurl, turning the floor over to eager devotees and skeptics, the curious and the brave. The questions will surely dance as widely as Tracy Turnblad does, and Waters—never one to shy away from provocation or charm—will meet each one with the quick wit and candor that have made him a legend. Those lucky enough to hold VIP tickets will extend the experience further. The “Group Therapy Experience,” as it is playfully dubbed, will bring attendees into Waters’ orbit for a more intimate exchange—preferential seating, a cherished autographed show poster, and a “socially distanced selfie” that situates you on stage with the man himself. He says, “better safe than sorry,” even if the sentiment is slyly couched.
"Pink Flamingos was preaching to the converted. But Hairspray is a Trojan horse: It snuck into Middle America and never got caught.'"
Waters often describes Hairspray as his most subversive work. “Hairspray is the only really devious movie I ever made,” he notes. “The musical based on it is now being performed in practically every high school in America… Pink Flamingos was preaching to the converted. But Hairspray is a Trojan horse: It snuck into Middle America and never got caught.” Therein lies the film’s genius—a Trojan horse parading as a feel-good musical, tackling segregation and self-acceptance with a wink and a song.
Hairspray centers on the irrepressible Tracy Turnblad, who vaults from outsider to icon as a regular on the ‘Corny Collins Dance Show.’ But true to Waters’ ethos, it’s no simple rags-to-riches fairy tale. Instead, it explores fame’s power and the clash of racial tensions with far more punch than many films more earnestly deemed “serious.” As Tracy challenges Amber Von Tussle, the show’s reigning star, and her segregationist family on the show, the rivalry crescendos to a finale as gaudy and glorious as it is pointed. Beneath the pastel wigs and toe-tapping tunes, Waters wields satire like a finely honed blade.
This special Houston outing, November 14 at The Hobby Center, is more than a screening. It is a chance to revel in film as rebellion, as art disguised in the garish garb of kitsch and joy. The night becomes even sweeter for Arthouse Houston Cinephile members: they’ll savor a 10% discount on tickets—a small price for such a ride. There is a discount for Houston Cinema Arts Festival ’24 passholders also. So, roll out the Aqua Net, put on your finest vinyl, and make space in your heart for a bit more trash, delivered by the man who has always embraced the label. For one evening, John Waters transforms Houston into a haven of film, fun, and the sublime.