The Unrepentant Odyssey of John Waters

John Waters, a filmmaker synonymous with transgression, has spent over six decades crafting films that are equal parts scathing social commentary and unapologetic provocations. His influence can be seen in many contemporary filmmakers who continue to defy conventions.

Waters’ entry into mainstream Hollywood with Hairspray (1988) marked a turning point in his trajectory. The film’s PG certificate sparked unease among some fans, who felt that Waters had compromised his artistic vision. Waters acknowledged the concern, recalling: “I thought my fans were going to turn on me.” This shift towards more palatable content paved the way for future collaborations with big-name stars and a Broadway musical adaptation.

The other film featured in the Criterion collection’s double-bill, Desperate Living (1977), is often overlooked as one of Waters’ lesser works. However, this “angriest” and “ugliest” film in his canon was written without the aid of marijuana, marking a turning point for Waters who claimed to have stopped taking drugs after achieving success. He explained that he wanted to maintain focus and avoid distractions.

Waters’ preoccupation with themes that are both repulsive and fascinating is evident in both Desperate Living and Hairspray. The former features scenes of gratuitous animal cruelty, including a car driving over a dog sourced from a hospital laboratory. Similarly, Hairspray showcases the “Roach” dance performed by Tracy Turnblad. This fixation on vermin serves as a reminder of Waters’ unflinching willingness to confront uncomfortable subjects.

Waters’ creative process has always been marked by experimentation and openness. He’s spoken about trying various substances, including heroin and ecstasy, which he deemed unsuitable for his artistic endeavors. His disdain for recreational drugs echoes the sentiments of some artists who argue that they hinder creativity rather than inspire it.

The dichotomy between Waters’ early work and his later films raises questions about artistic compromise and staying true to one’s vision. On the one hand, Hairspray represents a calculated risk by Waters, who chose to adapt his style to appeal to a broader audience. On the other hand, Desperate Living remains a scathing critique of societal norms that is uncompromising in its depiction of depravity.

In an era where filmmakers are increasingly pressured to conform to market demands, Waters’ unwavering commitment to his artistic vision serves as a reminder that true innovation often lies at the fringes. As he mused on the absence of novelty songs during the pandemic: “I miss novelty songs …” This sentiment speaks to a longing for an era when artists were more willing to push boundaries without fear of repercussions.

The re-release of Desperate Living and Hairspray serves as a timely reminder of Waters’ enduring influence. As the film world continues to grapple with issues of censorship, artistic freedom, and the blurred lines between high art and popular culture, Waters remains an important figure in this ongoing conversation.

Waters has been vocal about his disdain for some contemporary artists who prioritize shock value over substance. However, it’s precisely this willingness to challenge norms that makes him such a vital presence in the world of cinema. As he looks back on a career marked by controversy and innovation, Waters’ unrepentant odyssey serves as a testament to his unwavering dedication to artistic expression.

Waters remains a force to be reckoned with in the world of cinema, leaving audiences and filmmakers alike wondering what his next move will be – whether he’ll continue to challenge societal norms or adapt his style to appeal to an even broader audience.