Monday, 6 May 2013
John Waters - Eat Your Makeup
Although he maintains apartments in New York City and San Francisco, and a summer home in Provincetown, Waters still mainly resides in his hometown of Baltimore, Maryland, where all his films are set. He is recognizable by his trademark pencil moustache, a look he has retained since the early 1970s.
It was John Waters' first film production made in 16mm film. It has never been released on video. However, it was screened occasionally in 2004 as part of the touring exhibition John Waters: Change of Life.
John Waters' first 16 mm film, about a deranged nanny (Maelcum Soul) who kidnaps young girls and forces them to model themselves to death in front of her boyfriend (David Lochary) and their crazed friends. It was never shown commercially.
Of all of John Waters unreleased films, this one is the best. It actually has something of a story line (I don't go in much for the abstract stuff) and it has the first sightings of a lot of the JW regulars.
I believe it was filmed in JW's parent's backyard in Baltimore, MD.
If your a die hard JW fan, it is definitely worth seeing if it's possible.
I was only lucky enough to view it at a gallery in NYC.
In this day & age of DVD hysteria, I believe someday it will be released to the public along with Roman Candles, Mondo Trasho, & Multiple Maniacs.
Hail to the Pope of Trash!
Jason Buchanan, Rovi
Punctuating Eat Your Makeup is a scene where Waters openly alludes to a specific political event for the first time in his films. An androgynous, 17-year-old Divine is sitting around reading Screen Stars magazine and drifts into a daydream. She is (a slightly overweight) Jackie O and by her side is a faux JFK, in a car with the top off, driving slowly down the street in obvious emulation of November 22, 1963 when JFK was shot in Dallas. The scene is boring— for a long time they wave mindlessly at the nonexistent crowd until JFK is suddenly and graphically shot in an impressively faithful rendition of the Zapruder film of the assassination. Like Warhol, Waters’s relationship to celebrity culture, fashion, the media, and products is ambiguous, neither celebrated nor discouraged, just part of life. A then-burgeoning symbol of pop culture— makeup— is focused on and exploded, conclusions optional. Eat Your Makeup edges closer to the zenith that Waters would achieve throughout the ’70s: examining USA rebel culture on its own symbolic, materialist, and nonsensical terms.