Reviews for Play Hedwig and the Angry Inch
I could never hope to praise this enough: 10/10
No matter how much I do praise information technology, I'll end upwardly turning people against information technology. But, let me ask you: what were you expecting when you first heard of Hedwig and the Aroused Inch? It's been billed as a punk rock musical about a transsexual from Eastward Germany who was duped into coming to live in a trailer park in Kansas City. And then what was I expecting? A gay campsite film. I had no doubts that it would exist anything else. And that's not to say that I wouldn't take enjoyed a gay camp moving picture. Afterward all, I liked Moulin Rouge. But I got a surprise that was entirely unexpected: what I experienced was the best new film I had seen in years. And I mean that. Hedwig and the Angry Inch is as hilarious and touching. Not that I want to spread cliches, only I seriously laughed and I seriously cried, often simultaneously. This manages to be the best American one-act since, damn, Preston Sturges was yet writing and directing. It'southward easily the best movie musical since Cabaret. It's besides 1 of the most heartfelt and passionate dramas, and 1 of the best grapheme studies I've e'er seen. Along with that, John Cameron Mitchell delivers a operation that perhaps hasn't been equalled since, I don't know, Robert DeNiro in Raging Bull, which might be the ultimate cinematic character study. I shouldn't say that, because it might hint that Hedwig is a dark character, simply, well, I'd telephone call her just a great protagonist. She's a heroine, peculiarly to anyone experiencing sexual defoliation, but even to me, a straight, Midwestern boy. Hedwig is a heroine for anyone who'due south always felt that they've been treated like crap their entire life. I wanted to handclapping for and back up Hedwig emotionally throughout the entire moving-picture show. In short, Hedwig is a grapheme I deeply loved, equal to only a few other characters I've met throughout my extensive journeys in the picture palace. Parallel to a situation in the moving-picture show, if I should ever encounter John Cameron Mitchell on the street, I'd accept to hug him.
I as well have another heap of praise that I have to become through before I am washed. I've e'er thought that flick musicals adjusted from stage plays were the death of the genre. Only a few exceptions always seemed more unimaginative, slavish films that worked merely to bring Broadway to an audience who could or would never visit NYC. Cabaret was the ane large exception that I had seen previously, but you besides hear West Side Story mentioned equally being a great film. Merely, in adapting a phase play for the screen, I always expect the film to seem stranded on phase. To boot, Hedwig had another marking against it: the director, Mitchell once more, had never directed a motion picture earlier. Well, I really don't know what training he had in the art, only it must have been plenty. The cinematic fine art, at least the visual aspect of it, has almost been forgotten in the 1990s and 2000s, but John Cameron Mitchell creates a visual tour de forcefulness as much as he does i of writing and acting. I beloved the scene where Hedwig the adult reminisces nearly how his mother forced him to put his head in the oven if he wanted to sing when he was a child. And Hedwig and the Angry Inch'south (that's the ring's name besides as the film's) appearance exterior the Menses Festival side by side to the port-o-potties. A goth chick, who presumably didn't take tickets for the actual Menstruation Festival, watches the band in deep curiosity and defoliation; Hedwig invites the daughter to sit upwards on phase with her while she relates her past. I as well love the sequence where the American G.I. discovers him laying naked in rubble. Hedwig'due south original proper noun was Hansel, which leads to one of the funniest jokes I tin ever recall seeing. Or how about the scene where Hedwig, when babysitting, discovers Tommy, the future rock star who steals all her songs, masturbating in the bathroom tub? That scene is handled so well that I almost died laughing. To tell yous the truth, I don't retrieve there is anything ostensibly wrong with the film, flow. I just wanted to talk nearly the astonishing direction because the one review of it I have on mitt says "the direction can't assist from beingness flat." FLAT? How tin can you say that information technology is flat? PS: The blithe number and the song that goes along with information technology is adapted from Aristophanes' speech in Plato'south Symposium, about which I wrote my senior thesis in higher. The rock star'due south stage name, Gnosis, is Ancient Greek for "knowledge," which Hedwig actually says in the film. One of the filmmakers must take learned Aboriginal Greek at some bespeak in his life. Bravo, practiced sirs.
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Vivid toe-borer stuff
Already the winner of numerous awards including the Audience and Manager awards at Sundance, this is the film of an original stage musical comedy that played off Broadway for over two years. It centres on Hedwig, whose only way of escaping from East Berlin is to undergo a sex-change and assume his female parent'southward identity. Unfortunately the functioning goes wrong and he is left with an `angry inch'. Escaping to America, he forms a rock band whilst seeking the soul partner that volition fulfil his destiny. Loaded with songs that y'all volition be humming all the way out of the movie house, Hedwig and the Aroused Inch is the funniest, most outrageously entertaining flick of its kind since Rocky Horror. Unlike Rocky Horror, it does have some more serious philosophical reflections built into it (mostly via the songs), just it rocks, kicks ass and injects some seriously funny pizzaz into the transgender scene. I had the reward not only of seeing the U.k. stage version a few days after the film, but also hearing the director speak about his work at the UK premiere. As a get-go time film effort it'southward quite an achievement, but equally Cameron likewise played Hedwig in the stage version he had a starter for ten. On the downward-side, the film is probably improve on 2d or third viewing, when all the pieces would fit into place, and towards the end at that place is a tendency to tell the story only in songs and so at the expense of any serious script writing. But still information technology's a must-see movie.
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A Brilliant Picture show - Fun and Multi-Layered
Adapted from an off-Broadway show, "Hedwig and the Angry Inch" is the end consequence of 6 years of character and idea evolution past creator John Cameron Mitchell. Equal parts musical, mockumentary, and drama, the moving picture pleases on all levels.
The film'south musical numbers are brilliantly crafted and cross several dissimilar genres. A country-flavored number, "Sugar Daddy", appears smack-dab in the middle of all the punk and glam rock tunes, daring anyone to uncertainty the soundtrack's diverseness. The majority of the songs are catchy and bully fun to listen to ("Wig in a Box" fifty-fifty has a karaoke sing-a-long during the 2nd chorus), while staying true to the themes of the picture and Hedwig's life. John Cameron Mitchell (Hedwig) sings alive vocals over a pre-recorded band mix, and this definitely lends more of a live concert feel than if he had simply lip-synched all the songs for the function. The bulk of the bandage is reunited from the original cast of the "Hedwig and the Angry Inch" play, then fans of the original play who take not seen the movie need not worry almost "outsiders" ruining it in transition.
The moving-picture show'southward mockumentary nature mainly results from how the songs, existence "autobiographical", are preceded by scenes of commentary past Hedwig and a flashback from her life. While the transition from real time to flashback is ordinarily made quite clear, some scenes (particularly the climax, which is a mess trying to piece together) are confusing as to what is existent and what is flashback. The rest of the mockumentary comes between musical sequences, during Hedwig's interaction with her manager, band, and showing of mixed feelings towards Tommy Gnosis, an ex-lover who stole all her material for his own album and is now a pop teen idol. Her interactions with hubby Yitzhak (who, due to an splendid make-up job and performance by original bandage member Miriam Shor, I had no thought was played by a woman until I saw "Similar It or Not", a documentary on the film included on the DVD) would take made the list also, had a vital character-development scene with Yitzhak (the just non-Hedwig flashback in the entire film) been left in the final cut; as it is, Yitzhak serves just every bit Hedwig'due south back-up vocalist and whipping boy, a much less of import character. Nearly of the film'southward situations, however, are explained well, via flashback or dialogue, and take well-written gay and transsexual jokes.
Underneath all the humor and the music, however, is the serious theme of feeling spiritually "whole". Hedwig seems to interpret this (through the song "Origin of Beloved" and some interesting animated vignettes) every bit through finding beloved and i's soul-mate. Mitchell, who knows his character ameliorate than anyone, gives an amazing performance and is non just able to portray Hedwig's bitchy diva side, simply also able to brand the audience empathise with why she acts that way (unlike real-life divas), and how deeply her inner feelings and her failures and so far at "becoming whole" through a relationship problem her.
Having not even the faintest idea of what the pic was about other than that it was a musical, I was very pleasantly surprised at how much fun I had with Hedwig, and how at the aforementioned time it never strayed far from its serious theme. In its journeying from a graphic symbol, to a play, to a movie, "Hedwig and the Angry Inch" has won over audiences besides every bit taken home accolades at Sundance, merely has not had much mainstream success (chalk this upwardly to its "controversial" transsexual primary character and the popularity of "Moulin Rouge!", an experiment in stylistic over-extravagance, which is bigger and flashier than "Hedwig" due to its k budget only lacks the sense of "genuine" emotion in the plot). This is quite tragic, considering in retrospect, "Hedwig and the Aroused Inch" was definitely one of 2001's best films.
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Very strange but GREAT!
Tard to follow (at times) only fascinating story about a transsexual stone singer named Hedwig and her quest for fame, fortune and love. Impossible to describe, but a pleasance to watch. Never stops moving and extremely well-directed by John Cameron Mitchell (who likewise gives a wonderful functioning every bit Hedwig). The songs are loud and skilful, performed with gusto and tons of free energy. A rare Hollywood film that doesn't play information technology safe with its sexual content and doesn't wimp out at the stop. A one of a kind film and well worth seeing.
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REVOLUTIONARY, COMPELLING, RE-DEFINING THE Rock MUSICAL
Warning: Spoilers
Hedwig is an outstanding moving-picture show - compelling, rugged, sensitive, in-your-face, and full of committed energy from cast and crew. I used to think that Cabaret was the best musical made, and love the high camp-glam of Rocky Horror. But Hedwig edges these movies in my stance.
James Cameron Mitchell imbues Hedwig with dignity, bluster, bravura and credibility. It is an inspired performance, with riveting songs. (I stayed to the very terminate of the credits, breaking out into vocal. Carry in mind that South Africans have not had access to the phase play.)
This moving-picture show is more original and more than daring than the other 2001 contender for 'redefining' the musical, Moulin Rouge. Maybe this is because the chief characters are 'filled' in so well, in terms of music/lyrics, others' reactions to them, and past incredibly clear characterising. Hedwig, though over the meridian, is a cross between Sally Bowles and Frank-'n-Furter. Roll on Sing-along Hedwig!!
The story is quite unproblematic - Hedwig has an aroused inch (from a botched sexual activity-change). Hedwig is angry, too, because due south/he is searching for a sense of cocky, for the 'other' (that song 'Origin of Love' is mythical stone which works). James Cameron Mitchell is skillful equally both Hansel (his male person persona) and Hedwig; his search for Tommy Gnossis - his cosmos, his 'Rocky' ? - and ultimate reconciliation are moving.
The finish scene is magnificent equally Hedwig transforms into Hansel, all male, totally male, while Hedwig is lifted upward into the audition. At this point it seems that the film was saying many things virtually love, about identity, nearly relating.
A stunning moving picture - and, being a novice to Hedwig (similar a Rocky Horror virgin) I thought Miriam Shor was a foreign name for an interesting support actor. Imagine my please (and mortification) when I realise that 'he' is a adult female!
The illusion continues.
See this motion picture; I agree with the reviewer who calls information technology 'Kick Ass'. For me it is one of the most compelling and interesting films of 2001.
10/ten
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Unbelievably Amazing and Completely Kicking-Ass.
PF 23 April 2001
The press kit touts this picture show as a "Post-punk neo-glam rock odyssey," based on the hit off-broadway prove that ran in New York from 1998-2000. Some people have compared it to the Rocky Horror Picture Show, but that's just because it's the just other Glam Rock musical e'er fabricated into a movie.
The premise lone should brand you want to see information technology: A rock-and-roll drag queen tells her bizarre life story, starting equally a boy in East Berlin, falling in beloved with an American GI, and going for a sex-change operation, waking up to find nothing but a "1-inch mound of flesh" where her organ should be. The story takes more twists and turns later on that, and I don't want to spoil anything.
The story is told mostly through the songs, which are perfect stone and whorl gems, on par with the songs from Tommy. After only seeing it one time, I walked away singing the words "6 inches forward and v inches back...I've got an aroused inch!" over and over for days.
For a directorial debut with no big-proper noun movie stars, the interim is right on the mark. These are theater people, afterward all, and there's none of the cringeworthy bad interim yous run into in a lot of contained films. John Cameron Mitchell gives the character Hedwig so much emotional depth, yous forget that the premise is then light-headed.
The costumes are amazing, equally you would expect from a motion picture with a drag queen equally the principal graphic symbol. Hedwig wears no less than 41 outfits, 1 of which is a wearing apparel made entirely of hair.
I came away from this moving picture totally inspired. It positively electrified me with an energy I rarely feel from movies anymore. And I don't fifty-fifty like musicals!
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A precious stone in the heap of garbage called "American film"
Without gushing, I remember that this is the best picture to come out of the U.s. in several years. This is the type of movie which demands repeated viewing, and reveals itself a lilliputian each time. I'yard surprised that the genius of this picture show didn't receive more accolades at the time, but I attribute that to the socially adequate restraints of the mass culture.
Admittedly perfect production from top to bottom, makes you express mirth out loud... then tears your heart out & puts it back in once more. Multi layered & symbolic throughout.
Songwriting by Stephen Trask is sublime. But how the hell tin can a clown like Eminem get an Oscar & this guy was almost ignored?! Sickening thought. Cameron Mitchell must have been born for this part... a brave & charismatic perf.
This pic achieves everything that "Velvet Goldmine" (yuck) could not... in a fraction of the time.
Anyway, anyone who's got a little freak in them will dear this movie. And those who don't "get it" should be content watching the residuum of American mass market trash cinema.
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Hedwig's Shining, Like the Brightest Star
When one thinks of the concept of `rock musical,' 1 would usually think of brainless dance extravaganzas with no plot to be had. Well, ladies and gentlemen, whether you like it or not. Hedwig! The tremendously vivid Hedwig and the Angry Inch counters the one's stereotype of the stone musical; it has intelligence, ingenuity and a deeper meaning. Unlike its predecessor Rocky Horror Picture Prove, information technology is filmed through an creative person's view and has the sexual free energy and the integrity to match that of an fine art movie.
Hedwig and the Angry Inch began as an Off-Broadway musical in 1997, where information technology achieved cult status and disquisitional acclaim. It is the story of Hansel (Ben Mayer-Goodman/John Cameron Mitchell), a homosexual young human being who grew up in communist East Berlin, and dreamed of leaving his war-ridden homeland to find his soul mate. He thinks that he finds his soul mate in the person of U.S. Sergeant Luther Robinson (Maurice Dean Wint), a human who lusts for Hansel, but does not accept him for who he is. He proposes marriage to Hansel, with the promise that he will take him from Due east Berlin to America. Yet, Hansel'due south freedom comes with a price; he must undergo a sex modify performance. Hansel'south mother (Roberta Watson) gives Hansel her passport, and her name: Hedwig.
Withal, things do not get equally planned. Hedwig's operation got botched, rendering her with an `angry inch,' and Luther instantly abandons her in a loathsome trailer in Kansas, where she keeps herself afloat with her dreams of becoming a glam rock star. To finance herself, she turns tricks at a nearby military base of operations and becomes a bodyguard for the children of commander of the local ground forces fort. As a result, she falls in dearest with the commander's son, Tommy (Michael Pitt). Hedwig allows Tommy to collaborate on the vivid songs that she has written and endows him with the rock name of `Gnosis,' the Greek word for `knowledge.' However, when Tommy learns of her sex, he too abandons her, steals Hedwig's songs, and becomes a rock and roll icon.
The picture show opens with Hedwig and her band, the aptly titled `Angry Inch,' performing in the straight-laced chain restaurant Bilgewater's, to horrified customers. Hedwig and the Angry Inch, along with their manager, Phyllis (Andrea Martin), accept been post-obit Tommy's globe tour. In fact, Bilgewater's is next to the humungous stadium where Tommy is performing. During her `earth tour,' Hedwig recounts her heartbreaking story through a series of flashbacks, implemented through fades of white and different cinematography (absences of color, quality of film, etc).
The driving forcefulness behind every attribute in this film is John Cameron Mitchell, who starred, directed, and wrote the screenplay for Hedwig and the Angry Inch. This happening was extremely important, because Mitchell derived the entire concept of the Hedwig and brilliantly adapted it for the Off-Broadway stage. The stage version of Hedwig and the Angry Inch involved Hedwig recounting her by experiences through a narrative, and so for the motion-picture show version, Mitchell simply implemented the flashbacks in live activity sequences. Fifty-fifty though his performance equally Hedwig is deliciously tawdry sexual, through his brilliant acting talent, i is able to have a peek at Hedwig's loves and inner desperation for acceptance. Mitchell derived the basic concept of Hedwig and the Angry Inch from his own experiences growing up every bit the homosexual son of an army general. His male parent served in Berlin, and he had immediate noesis of the state of war state of affairs.
Dissimilar virtually other rock musicals, the vivid songs that Hedwig periodically performed were washed so during Hedwig'south stage performances, not at random points in the film. This attribute added to the believability of the picture, discouraging the absurdity of its predecessors. Stephen Trask, who also appeared in the movie, brilliantly wrote the Hedwig'due south songs. The songs did not take a tinge of campy like Broadway-style songs; they reflected the glam rock principles like the songs of David Bowie and Lou Reed from which they were based. Trask'south by is in stone and roll, hence the obvious edge of the songs in Hedwig and the Angry Inch. Mitchell's beautiful voice adds a triumphant punch to all of the songs (he starred in numerous musicals prior to Hedwig.) and lets the emotions of the beautiful lyrics and his brilliant performance shine through.
Fifty-fifty though Hedwig and the Angry Inch is a very depression-approaching independent picture show, Mitchell turned to his inventive imagination in order to create a richly beautiful and artistic piece. For example, he used imaginative camera angles to produce special effects. During `Angry Inch' operation scene, he executed a low angle medium shot underneath him to brand information technology appear every bit though he was flying over a room of revolting people. Then, he executed a high angle long shot to depict the people from his perspective. Also, he used cinematography to change the mood of the motion-picture show from the commencement to the cease. For example, in the beginning of the film, Hedwig wore lush, elaborate wigs and brightly colored costumes and lighting was in warm, pinkish hues to describe Hedwig's more positive outlook. In dissimilarity, toward the end of the flick, Hedwig wore stark wigs and costumes and the flick was filmed in higher contrast to depict Hedwig's tragic breakdown.
Hedwig and the Aroused Inch recounts Hedwig's journey to find her soul mate: her journey of becoming `whole.' Mitchell derived this concept from `Plato's Symposium,' in which there were iii sexes of people (man-adult female, woman-woman, and man-human), with four artillery and four legs, that were split in half by Zeus and wandered the earth, searching for their other half. Hedwig views herself as being a half of a whole, and thus does non accept herself for who she really is. Her get-go ii attempts at love proved to be futile, and her electric current relationship with band mate, Yitzhak (Miriam Shor), is shallow and empty. In the face of adversity, Hedwig finds herself tragically alone. In order to find her destiny, she must look to herself for the answer.
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Creation from What You Have to Work With
tedg xi February 2002
Warning: Spoilers
Spoilers herein.
Great film transports us to unfamiliar places in such a mode that we are given enough familiarity to have information technology annals.
This is whole, consistent -- a real vision that sticks. It is easier, I suppose, when it is a operation of a performance.
But is it an affair like Horrock's `Piddling Vocalization'? Is information technology dearest?
It is for now anyhow.
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Amazing movie, astonishing Soundtrack
A truthful Stone Opera! Not for the minor minded. Every song is amazing and wonderful - Origin of Beloved - is one of the best songs of our fourth dimension. The illustrated mini-movies through out the movie truly enhance it. Beautiful and tragic. Unlike anything else, Rocky Horror pales in comparison. Amazing performances! I loved this movie! Hedwig is a truly beautiful and twisted character. This motion-picture show explains how someone gets to a very unusual point in their life. This motion-picture show shows that human beings have faults, emotion, love, anger and strife, no matter what their sex is, or how unusual they seem. The costumes are amazing and the sets rock. All effectually magic.
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An Aroused Inch is just plenty.
This movie is insane. That's why I liked it and so much. The plot and visuals are as twisted as the inch that Hedwig is left with after her botched sexual practice-modify. In contrast, the lyrics of the many songs in the this flick are beautiful and poetic. I'one thousand going to search out the sound rails for this film, as the songs were vivid and inspiring.
This picture show shows that everything has two sides that some how merge together to grade the truth, The beautiful woman with the ugly, scarred genitals. The everlasting dearest soured by betrayal and shame. The cravings for success marred by the fear of power.
The unusual story, and the wonderful music brand this movie lonely worth watching. The amazing interim, outrageous costumes, and fabulous wigs make it a cult archetype.
Another success for producer Christine Vachon, and a definite recommend from me!!!
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of the greatest modern musicals
Mitchell's performance equally Hedwig remains one of the best of modern times -- the graphic symbol is by turns sexy, scary, outrageous, obnoxious, pitiable and vulnerable -- and it anchors a motion-picture show that landed on my list of the 10 best films of the 2000s.
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astoundingly bright, somewhat disturbing. A must see.
This was a film I had planned to watch for an extremely long time, it was lent to me past an ethics professor and I was blown away. I was astounded. Never could I have imagined how visually and sonically pleasing Hedwig would exist all at in one case, yet surprisingly disturbing. And this is coming from a homosexual man who has spent an enormous amount of fourth dimension around persons who have had sexual practice changes, and innumerable elevate queens. Hedwig besides gave a startling new look at the collapse of (and years previous to) the Berlin wall. Fifty-fifty IF You lot Retrieve Y'all WON'T Similar THIS FILM SEE It Anyhow, y'all will be surprised. What I took that was even more unexpected than annihilation else, was not bad joy in the songs. Each song, specially "The Origin Of Love", and "Aroused Inch" were songs I would heed to without prompting from the moving-picture show.
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Wonderfully sad and funny!
I am a Male person to Female Transsexual and this movie has helped bring across some of what we face up in our lives. It did it in a way with comedy with an underlying dear story. The story starts as a child and follows her throughout life until her dreams (well some of them) are met. There are may twists and turns along the mode making this more realistic to me, a transsexual at the end of her long road of discovery. Information technology is tender to a point of bringing tears and total emotions to you. Only problem I take is that Hedwig is making fun of her condition, caused by a messed up surgery, Thank goodness she can continue to meet the good in things, or can she!!!
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Ii sets of arms...two sets of legs
A pointed and serious stone musical with a bitter comedic edge. Hedwig is a half-man/half-adult female singer in the Midwest who has quite a story to tell. She managed to become out of run-downwardly East Berlin by marrying a gay American officer--merely not earlier having a sex functioning that "got botched". Now she's on a quest to confront down the teen idol she discovered and groomed, a relationship that blew up in her face later on the kid ran off with her songs. A vital and bright depiction of sexual angst, ane with first-class music written by Stephen Trask and performed by director-star John Cameron Mitchell (who really knows how to work the photographic camera). Their film, adjusted from the Off-Broadway cult boom, does have problems; it falters somewhere almost the finish and finishes limply. There's a streak of pretentiousness near the work that fails to bring the comedic elements and the drama together. Many sequences are agreeable and bracing, yet Mitchell'due south direction doesn't piece of work out the residual of emotions we're feeling, and his conception leaves u.s.a. behind. I didn't care for the surreal jumble that is the final fifteen minutes, just I loved the flashbacks to Hedwig'southward childhood (his flat was and then small he had to play in the oven!) and all the players are game and forthright with Mitchell's take-no-prisoners approach. **1/ii from ****
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Hedwig and The Angry Inch Has Touched My Heart and I Call It Beloved
John Cameron Mitchell wrote and starred Hedwig and the Aroused Inch, the musical opened Off-Broadway in 1998. The soundtrack was created by Stephen Trask. The show a considerable number of important awards, resulting in a moving picture with a aforementioned name three years afterward. John C. Mitchell also starred and directed it.
Most of the actors and actresses utilise outfits and lots of make-up, the people responsible for turning visually the cast into the characters did an incredible work. Those which stand up out are Hedwig with the clothing, make- ups and wigs along with Miriam Shor portraying a man, Yitzhak, it's barely noticeable that a male grapheme is being played by a woman. There're some scenes which were filmed using dissimilar, but withal interesting, angles and techniques, providing an artistic tone and making the pic more unique. Regarding the musical presentations, there're both recorded audio and live performances. John C. Mitchell preferred that way instead of only having lip-sync shows to the passion and energy of the songs practise not go unnoticed.
Behind the make-ups, costumes, wigs and musical performances, at that place's a story which isn't just shallow and empty, merely has certain depth, which induces you lot to think, talking about the search of love and your cocky- credence. Due to her strong personality and charisma, Hedwig affects you correct from the start. As the film goes on, you get to know more about her and past the end you probably will very emotional and sympathized with her. John Cameron Mitchell did an outstanding functioning to bring Hedwig to life, he succeeded in passing the whirlwind of emotions that Hedwig had as a consequence of her difficult and traumatic life.
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Bonkers, funny, life affirming, thought provoking, moving.
I loved this film. I really loved this moving-picture show. In fact it is in my acme 5 and I don't even like musicals. Somehow I resisted the urge in Blockbusters to hire it on its original release just something about the cover and blurb intrigued me. Fast forward 18 years and I righted that wrong. It is a compelling watch from offset to finish. The songs actually help tell the story as do the curt animated sequences. This moving-picture show is and then many things. It is genuinely moving, I actually cried at the end, something I never exercise at films. It explores interesting themes of identity, sexuality, cocky awareness and love with such a light touch that you lot don't feel it is a vehicle for a polemic. I take listened to the songs on Spotify since and they are much stronger than I originally thought on showtime heed via our oldish Television receiver. This picture feels incredibly fresh and original. It is as well beautifully acted and shot.
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A terrific Film
The comparisons to Rocky Horror are misguided. This is far better, and actually is nigh something important. Mitchell is amazing, and so is the thought. No motion-picture show has always expressed sexuality, longing, defoliation, or rock and scroll, so elequently equally this trivial film.
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Holy Sh#t ! ;)
I finally decided ii sit down and watch this movie. It'due south near 20 yrs quondam now and I'd always heard good things near information technology. My son, who'due south very contemporary in his thinking, he judges no i for their sexuality suggested I watch it because I would probably actually like it. What a damn shame I hadn't seen it sooner! I absolutely roughshod head over heels in love with information technology. I watched information technology twice -in 1 sitting. The music is fantastic... Orgin of Dear... what an admittedly amazing vocal. It's just such a well-written, perfectly acted, gem of a movie. I dear information technology more than Velvet Goldmine which I compare it 2 because I'm an former glam rocker myself. Don't wait 2 see this movie... it's beautiful - u will non regret it. Bravo John Cameron Mitchell!
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Takes Time Finding the Real Person Nether the Wigs
Not having seen the off-Broadway version of "Hedwig and the Aroused Inch," I tin can merely estimate it as a movie (and after hearing long, hagiographic interviews with star/manager John Cameron Mitchell using his opposite whispery persona on radio shows).
It works as a stone musical through the beautiful conceit of the songs being part of "Hedwig's" cross-country stalking tour of her sweet-faced young protégé, though the raucous songs take besides much similarity, relieved past the change-of-tempo ballads.
As another celebration of drag queens and/or transsexuals who employ the exaggerated female image as minstrel shows use blackness-face caricatures, "Hedwig" doesn't reach the heights of "The Adventures of Priscilla: Queen of the Desert" in understanding a real person nether the wigs, every bit the set-up here is intentionally more campy.
Simply as I got tired of the gimmicks, the movie finally fulfilled itself every bit the self-realization of a gay man (and his reverse image partner) and became more human. Consequently I didn't buy the didactic we're all i sex theme, even as charmingly demonstrated through the interstitial dorsum-story explanation animation by Emily Hubley.
"Hedwig" uses similar editing techniques and tone every bit Ken Russell's "Tommy," achieved with a lot smaller budget and less cinematography quality.
(originally written 7/27/2001)
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The Origin of Dear
"I could swear past your expression/ that the hurting down in your soul/ was the aforementioned as the 1 downward in mine/ that's the pain/ that cuts a directly line downward through the heart/ we call it love (...) Information technology was a cold dark evening such a long time ago/ when by the mighty mitt of Jove/ it was a lamentable story how nosotros became/ lonely two-legged creatures/ it's the story/ the origin of love..." I loved this motion-picture show. I think it's ane of the most beautiful portraits of a cleaved and searching person I've seen in a motion picture or a musical. It has deep and inspiring songs that stand by themselves as good music, and it'south something and then unique and original that I can guarantee you've never seen anything similar this.
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The phenomenon chosen Hedwig
Oh my, this Hedwig is i aroused German language glam-rocking bowwow.
The character of Hedwig was already created in 1994 by John Cameron Mitchell and was gradually turned into a theater show and became a real sensation in New York Urban center in 1999, and then the picture show version was inevitable. One can't assistance only accept enormous admiration for the enormous corporeality of work and energy he put into bringing this adaptation of his Off-Broadway act onto the screen and produce this riveting glam-rock musical mockumentary about an E-German transsexual singer touring the American Midwest with his rock-band "The Angry Inch".
A gifted storyteller and 'internationally ignored' rock singer, Hedwig'south disillusions do non inhibit her from pursuing ambitions of grotesque grandness, in fact, information technology'south difficult to think of a more egotistic person than her. Hedwig was born every bit a male child named Hansel in the erstwhile East-Berlin whose life dream is to notice his 'other half'. He reluctantly submits to a sexual activity alter operation in society to ally an American K.I. and get over the Berlin Wall to freedom. However, the functioning is botched, leaving him with the titular 'aroused inch.' (from at present on, I shall refer to Hedwig in the female form again) After a few years of marriage and ending up in a Kansas Metropolis trailer-park, Hedwig pushes on to form a rock band and encounters a young vocalist, whom she dubs Tommy Gnosis, who eventually leaves her, steals her songs and becomes a huge rock star.
Nearly of the motion-picture show features angry Hedwig performing in near-empty diners filled with the occasional fan, but mostly with unwilling suburban audiences, not quite gear up for her emotional honesty. Many of the songs are nifty, non actually my kind of music, but in that location's no denying this is a musical that rocks, made by people who really know rock music. The occasional flashback to Hedwig's Berlin youth have a surprisingly touching and emotional touch, simply the narrative arc to put all this into a more than broader political context didn't quite do it for me. It'due south the kind of grand, somewhat simplified gesture, similar comparing Hedwig's own longing for his 'other half' to the history of the Berlin Wall, that tin be hard to swallow. However, the filming is not bad, a real colourful visual palet and the writing offers enough sardonic wit to keeps things sharp and edgy and - virtually chiefly - Mitchell'southward presence is then commanding, he practically forces you lot to pay full attention throughout the film'south running time.
Camera Obscura --- 7/10
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Artistic, trippy, and brilliant!
My teenaged trans gay son and I totally loved this film. The lead graphic symbol is completely fierce, vulnerable, lovable, pitiful, glamorous, hilarious. The writing is so clever and well done. The music and fine art in this picture show, not to mention the fashion, makeup, and the virtually fantastic hair are all quite fabulous. This is an entertaining, trippy, fun, heartbreaking, symbolic motion-picture show. It has something to say and says it in an edible, succulent way. Highly recommend!
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Thinking Exterior the Wig Box
"Hedwig and the Angry Inch" is not a musical. The only argument to the contrary is the musical sequence "Wig in a Box," which still morphs into a music video.
But I digress. John Cameron Mitchell's film accommodation of the gender-angle stone play really makes drag interesting, with Mitchell himself as Hedwig Robinson, an East German rock star with a dream to stone America and find her other half (a concept fully explained in the cute mythology of "The Origin of Love"). Other classic performances come up from such talents as Miriam Shor, Andrea Martin, and Michael Pitt. All are terrific.
Emily Hubley'south exquisite animations enhance the film with their occasional entrance. And as a "archetype-rock loving, Dungeons & Dragons obsessed Jesus freak with a fish on his truck," Pitt delivers the movie's worthiest (and most confusingly downplayed) performance. As Tommy Gnosis, his relationship-turned-rivalry with Hedwig is a key chemical element in the film'south satisfying buildup.
Substantially, "Angry Inch" is a series of outstanding rock songs laced together with 18-carat pathos that feels more natural than in any other movie in a long fourth dimension. All things considered, it's a trip to a simpler place in the universe. And y'all can try and tear it down.
It just won't piece of work. Hedwig rocks!
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Unrelentingly bad ego trip
I went to meet "Hedwig and the Aroused Inch" with loftier expectations considering the critical reception it has received from the printing. But of course, the printing loved "My Dinner With Andre" and "The Incredible Lightness of Being"...2 movies that were unmitigated disasters as far as I'grand concerned.
Those 2 movies were boring. Hedwig is non. It is a glitzy, noisy, vacuous rock musical nigh an Due east Berlin kid castrated to gain entry to the United States as a sort of war bride and then abandoned past his/her husband in Kansas simply to become a 2d rate stone star. All this might have made an interesting, charasmatic drama, but as a musical it is a disaster. The score of stone songs is unremittingly loud and monochromatic and except for the vocal "Origin of Love", at that place is non a memorable melody anywhere. 80% of the movie is outlandish, sometimes over the height performances of these awful songs. You just sit down in that location waiting...and hoping they'll be over presently. Some critics have compared "Hedwig" to the "Rocky Picture Horror Show". That movie/show had a great score. This does not and a musical without a score isn't worth a damn.
The second unfortunate realization is that the entire project (and I assume the off broadway stage product on which it based) is a massive, self indulgent ego trip for its star, writer and managing director. The kid'due south got a lot of talent with which he energetically assaults this dreadful material. If there was a decent score, a bully screenplay and a seasoned director, he'd be brilliant.
So it's not ho-hum. The production values are fun as far as it goes. Yeah, the wigs are fun. BIG DEAL! When the motion picture is over y'all don't requite a hoot for Hedwig or what he/she has been through. At that place is little application of wit and a heavy dose of maudlin tripe.
Deplorable folks. If you desire a recent movie musical with some MUSIC, run into Moulin Rouge.
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Source: https://www.imdb.com/title/tt0248845/reviews
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