Hedwig and the Angry Inch may very well be the next Rocky Horror midnight movie. It not only knows how to rock, but Hedwig's story has an emotional poignancy.
Hedwig and the Angry Inch may very well be the next Rocky Horror midnight movie. It not only knows how to rock, but Hedwig's story has an emotional poignancy.
Adapted from the hit off-Broadway musical of the same name, Hedwig and the Angry Inch is the tale of an "internationally ignored" rock & roll singer who hails from Communist Berlin and who dreams of becoming an American sensation. Hedwig (John Cameron Mitchell), born a boy named Hansel, is raised by a single mother (Alberta Watson) who wishes to see her son do better than his poverty-stricken family. Some years later, Hansel is attracted to a good-looking American G.I., who promises a better
life overseas for young Hansel, under one condition: that he undergo a sex-change operation to become a fully functional female whom he can then marry. The operation is seriously botched, leaving the now-renamed Hedwig with an "angry inch" only to be stranded in a dingy Kansas trailer park on the day the Berlin Wall comes tumbling down. Hedwig then supports herself through a series of ill-fated lounge gigs and side jobs, meeting up with 16-year-old Tommy Gnosis (Michael Pitt), a religious type who befriends her and later steals her songs and becomes the rock star Hedwig always dreamed of being. Undeterred, Hedwig continues to perform in the shadow of Tommy's sold-out stadium tour, attempting to make herself whole in spirit, if not physically. The film features several songs by composer Stephen Trask, who also appears as a member of Hedwig's disinterested rock band; Miriam Shor portrays Hedwig's newfound love and backup singer. ~ Jason Clark, Rovi
Those expecting a rockin' good time are likely to be left cold by this screen translation, which despite some imaginative packaging too often proves a drag in more than the sartorial sense.
A ball of gender confusion, Biblical allegories and Eastern European politics -one of those would be a tricky subtext for a 90-minute rock opera. But the songs marry Jim Steinman's grandeur to the Stooges' sweat and spit, with a deft, tender screenplay.
Mitchell's performance as Hedwig remains one of the best of modern times -- the character is by turns sexy, scary, outrageous, obnoxious, pitiable and vulnerable -- and it anchors a movie that landed on my list of the 10 best films of the 2000s.
Mitchell's successful screen version of his acclaimed play, which feature one of the most original hero(ine), benefits immeasurably from the skills of his producer Christine Vachon and production designer Therese DePrez.
If we had more people like Mitchell out there creating provocative, meaningful art, we might just achieve civilization sometime soon. Highly recommended.
Brilliantly acted, moving, darkly funny, and featuring some terrific songs, this has everything you could possibly want from a transsexual, post-punk, neo glam rock opera.
For all her flamboyance, Hedwig is a poignant and lovable character in Mr. Mitchell's portrayal, and a heck of a lot more interesting than most of the movie heroines we've met this summer.
I have put off seeing this film for years because on paper...there is NOTHING that is appealing to me (aside from the fact that Andrea Martin has a role in it). Well I am here to tell you that I was more then pleasantly surprised by just how much I enjoyed it.
Don't let the off putting images of John Cameron Mitchell
painted up as Hedwig influence your opinion like it did mine. The character is actually quite endearing once you get to know him/her and on ocassion (usually as Hansel) kind of pretty in a non-traditional sort of way.
While some of the Hansel/Hedwig flash-back stories are clever and creative and there are some real flashes of briliant writing in a few of his/her monologues...the main storyline is sort of vague and poorly thought out. Which is disapointing because with a better narrative storyline this could have been a pretty amazing piece of work.
I won't lie to you, the real stars of this show are the songs. Music and lyrics are really impressive and the animated "montages" are delightful. And coming from a person who LOVES music but (mostly) dislikes "musicals"...that is high praise.
It really is worth a watch. From a creative standpoint if nothing else.
March 17, 2008
Robert C
Super Reviewer
A drag queen rock star escapes from East Berlin and pursues his ex-boyfriend who stole his songs.I found this film both bizarre and heartfelt. The subject matter lends itself to extremes in both filmmaking and performance, and writer/director/star John Cameron Mitchell commits so fully to these extremes that the film
is often so hypnotic that one gets lost in the ride. By the same token, he doesn't deviate from a very human story about the search for love in the face of rejection and alienation.I did think, however, that some of the songs detracted from, rather than added to, the film's central story, with the main love song being the exception.Overall, if you have a choice of transvestite rock and roll films, and you're choosing between Hedwig and the Angry Inch and Breakfast on Pluto, choose Hedwig.
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