list http://www.spout.com/ Recent community activity around Hedwig and The Angry Inch on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Hedwig_and_The_Angry_Inch/184310/default.aspx Title: Hedwig and The Angry Inch
Year: 2001
Director: John Cameron Mitchell
Plot: Adapted from the hit off-Broadway musical of the same name is this 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 who 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 back-up singer. ~ Jason Clark, All Movie Guide
Times Tagged: 48
Number of Lists: 47
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SpoutRating: 3
]]>Sat, 11 Apr 2009 17:34:54 GMTHedwig and The Angry Inch2001John Cameron MitchellAdapted from the hit off-Broadway musical of the same name is this tale of an "internationally ignored" rock & roll singer who hails from Communist Berlin and who dreams of becoming an American sensation. Hedwig (<a href="/players/P____49681/default.aspx" style='text-decoration:underline'>John Cameron Mitchell</a>), born a boy named Hansel, is raised by a single mother (<a href="/players/P____74971/default.aspx" style='text-decoration:underline'>Alberta Watson</a>) 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 who 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 (<a href="/players/P___291783/default.aspx" style='text-decoration:underline'>Michael Pitt</a>), 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; <a href="/players/P___273909/default.aspx" style='text-decoration:underline'>Miriam Shor</a> portrays Hedwig's newfound love and back-up singer. ~ Jason Clark, All Movie Guide48Tag Target (>10)47723http://www.spout.com/ProductImages/t13536hfhen.jpghttp://www.spout.com/films/Hedwig_and_The_Angry_Inch/184310/default.aspxFilm http://www.spout.com/blogs/pippin06/archive/2009/4/11/41561.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 4/11/2009 1:34:54 PM
Body: "Hedwig and the Angry Inch" constitutes the last of the indie quartet recently topping my Netflix queue, as well as an overlapping segue into the subsequent string of five LGBT-themed films that are next, all of which were nominated for Oscars. Hedwig was not nominated for an Oscar, but it won at least one Independent Spirit Award. I was interested in this film for a few reasons. First, I have some friends (of a certain persuasion) who simply adore this film, and I kind of wanted to be a part of the fan club or at least see what all the fuss was about. Second, it is a musical, and as a theater-addict, and as the film is based on a previous stage version, I was naturally drawn to it – plus, it has somewhat of a cult following in the vein of the Rocky Horror (Picture) Show, and I tend to enjoy those quirky, off-the-wall selections that no certifiably mainstream movie or theatre fan enjoys. Third, I've been craving something a little different in film lately, so it was fortuitous indeed that Hedwig happened to be at the queue's apex at this time. Hedwig is definitely a little different – in fact, there was clearly a design on the part of writer, star, and director John Cameron Mitchell to make it very different, even if at times, while watching the film, it felt like he was trying too hard to do so. Mitchell plays the title role, as Hedwig and her band, the Angry Inch, tour shopping malls and a chain of dive restaurants in semi-major metropolitan areas across the country. Hedwig belts out her guttural yet biographical brand of rock music and delivers edgy quips while telling her story in flashback. Born young Hansel in East Berlin, in the year the wall was erected, he amuses himself by dancing on his mother's bed in their tiny, one-room apartment and by listening to American rock 'n' roll while his single mother cares for him (having evicted his father, who molested him when he was younger, from the home). As Hansel grows into his own sexual curiosity, he encounters an American GI named Luther, who falls for him and promises to whisk him away to America, provided that he get a sex change operation, as military men can only marry women. Hansel's mother endorses the idea in the hopes that he escapes Communist Germany, and bequeathing her name, Hedwig, to him, finds money to pay for the operation; however, it's botched, and Hedwig is left with a non-functional inch of flesh where her penis used to be. To rub salt into this ripening wound, on their one-year wedding anniversary, Luther leaves Hedwig at their trailer park for a man. In her anger, Hedwig seeks refuge in music, first playing with a quartet of Korean army wives; however, she meets young teenager Tommy (Michael Pitt), who is deeply religious and interested in mysticism and mythology. He is also sexually curious and likely gay, and, together, Hedwig and Tommy explore a tentative and intimate love relationship while writing songs together. Hedwig even christens Tommy "Gnosis," after a particular sect of Christian belief that elevates Eve and other female Biblical personae. The trouble is that Tommy, after an encounter with Hedwig's angry inch, abandons her and steals her music, getting rich and famous in the process. Thus, Hedwig and her band, consisting of her current lover Yitzhak (Miriam Shor), who dreams of dressing in drag but outwardly remains male for Hedwig, make due by playing for disinterested crowds in restaurants and malls near Tommy's headlining locations. I liked Hedwig. I didn't love the film, though, mostly because I didn't relate to it much (and I've never seen the stage version, so I had no basis for comparison). The themes explored in this film touch religion, spirituality, and identity, not only sexual and gender identity but also self-identity as it relates to love. There were some powerful images, and the songs pretty much rocked. I particularly enjoyed "The Origin of Love." In fact, the singular most appealing part of the film is the musically rich and powerful songs delivered in a tour de force performance by Mitchell. Because, while the music may be the soul of the movie, the magic and heart behind Hedwig is the man who created her in word and who played her both in the film and in the initial stage version. Mitchell oozes pure charisma, and the script/book, which he wrote, contains some acidly funny one-liners and observations about life and identity in addition to some emotionally powerful passages that Mitchell delivers with true panache. Since the film is Hedwig's story, Mitchell's performance as the main character was particularly vital in creating a connection to the viewer, whether the topic is ultimately relatable or no. The film, however, lost focus, somewhat ironically, in its direction and cinematography. I think Mitchell, in the transition to celluloid, wanted to up the ante of the visual experience by employing a hodgepodge of different camera angles, techniques, and lighting palates. At one point, for example, the camera, in a jauntily vertical 360, encircles Hedwig's adult head in a mirror of his childhood (while he's laying in the oven). In fact, when the story is told in flashback or in a dream sequence, the techniques were visually interesting and often reflective of the primary emotions being conveyed; however, the more emotionally intense scenes, such as the intimate exchanges with Tommy, employed a more straightforward, visually uninteresting technique, which makes narrative sense but did not adequately draw focus to the budding relationship in a way that justified Hedwig's later obsession. Also, Mitchell's performance wavered in the scenes where more straightforward dialogue was used, and Pitt's heartbreakingly haunting performance also lost some of its luster when his character interacted with Hedwig, as if the two actors weren't all that comfortable together. In other scenes, such as the concert/gig scenes, the imagery and lighting played with colored strobe effects that ultimately felt too busy, even if the intention was to punctuate Hedwig's unresolved anger. In essence, the general visual ideas could be classified as extremely theatrical in presentation, and the lack of consistency could be symbolic of Hedwig's long, up-and-down road to self-acceptance, but it rendered the film version of this unusual tale disjointed in pacing and, thus, in this viewer's interest. The other notable element of this film was Hedwig's fantastic costumes and wigs. Their raucously colorful and occasionally sparkly design further added to the theatricality of the piece. I enjoyed hearing Hedwig's tale and her recounting of her journey toward making peace with herself and her surroundings, since that is ultimately the road the story travels. This lesson is a worthy one for really anyone seething from anger at life and the cars they've been dealt. As I'm pretty happy with my identity (for the most part), I would not run right out and buy this one, so the test does not pass. In the realm of wacky gender-bending, cross-dressing musical comedy with cult followings, I prefer The Rocky Horror Picture Show (though I can't be called a fan, complete with the shouted echoes). Still, as a filmmaking effort, Hedwig and the Angry Inch is entertaining and offers a powerful and interesting story, so I am inclined to rate the film a 7.5 between minor flaws/very good and shaky/entertaining. I also think the film is recommendable to anyone interested in a witty, truthful yarn who is otherwise not offended by such a nakedly in-your-face topic.
]]>Sat, 11 Apr 2009 17:34:54 GMTpippin06Reel Thoughts4/11/2009 1:34:54 PM"Hedwig and the Angry Inch" constitutes the last of the indie quartet recently topping my Netflix queue, as well as an overlapping segue into the subsequent string of five LGBT-themed films that are next, all of which were nominated for Oscars. Hedwig was not nominated for an Oscar, but it won at least one Independent Spirit Award. I was interested in this film for a few reasons. First, I have some friends (of a certain persuasion) who simply adore this film, and I kind of wanted to be a part of the fan club or at least see what all the fuss was about. Second, it is a musical, and as a theater-addict, and as the film is based on a previous stage version, I was naturally drawn to it &ndash; plus, it has somewhat of a cult following in the vein of the Rocky Horror (Picture) Show, and I tend to enjoy those quirky, off-the-wall selections that no certifiably mainstream movie or theatre fan enjoys. Third, I've been craving something a little different in film lately, so it was fortuitous indeed that Hedwig happened to be at the queue's apex at this time. Hedwig is definitely a little different &ndash; in fact, there was clearly a design on the part of writer, star, and director John Cameron Mitchell to make it very different, even if at times, while watching the film, it felt like he was trying too hard to do so. Mitchell plays the title role, as Hedwig and her band, the Angry Inch, tour shopping malls and a chain of dive restaurants in semi-major metropolitan areas across the country. Hedwig belts out her guttural yet biographical brand of rock music and delivers edgy quips while telling her story in flashback. Born young Hansel in East Berlin, in the year the wall was erected, he amuses himself by dancing on his mother's bed in their tiny, one-room apartment and by listening to American rock 'n' roll while his single mother cares for him (having evicted his father, who molested him when he was younger, from the home). As Hansel grows into his own sexual curiosity, he encounters an American GI named Luther, who falls for him and promises to whisk him away to America, provided that he get a sex change operation, as military men can only marry women. Hansel's mother endorses the idea in the hopes that he escapes Communist Germany, and bequeathing her name, Hedwig, to him, finds money to pay for the operation; however, it's botched, and Hedwig is left with a non-functional inch of flesh where her penis used to be. To rub salt into this ripening wound, on their one-year wedding anniversary, Luther leaves Hedwig at their trailer park for a man. In her anger, Hedwig seeks refuge in music, first playing with a quartet of Korean army wives; however, she meets young teenager Tommy (Michael Pitt), who is deeply religious and interested in mysticism and mythology. He is also sexually curious and likely gay, and, together, Hedwig and Tommy explore a tentative and intimate love relationship while writing songs together. Hedwig even christens Tommy "Gnosis," after a particular sect of Christian belief that elevates Eve and other female Biblical personae. The trouble is that Tommy, after an encounter with Hedwig's angry inch, abandons her and steals her music, getting rich and famous in the process. Thus, Hedwig and her band, consisting of her current lover Yitzhak (Miriam Shor), who dreams of dressing in drag but outwardly remains male for Hedwig, make due by playing for disinterested crowds in restaurants and malls near Tommy's headlining locations. I liked Hedwig. I didn't love the film, though, mostly because I didn't relate to it much (and I've never seen the stage version, so I had no basis for comparison). The themes explored in this film touch religion, spirituality, and identity, not only sexual and gender identity but also self-identity as it relates to love. There were some powerful images, and the songs pretty much rocked. I particularly enjoyed "The Origin of Love." In fact, the singular most appealing part of the film is the musically rich and powerful songs delivered in a tour de force performance by Mitchell. Because, while the music may be the soul of the movie, the magic and heart behind Hedwig is the man who created her in word and who played her both in the film and in the initial stage version. Mitchell oozes pure charisma, and the script/book, which he wrote, contains some acidly funny one-liners and observations about life and identity in addition to some emotionally powerful passages that Mitchell delivers with true panache. Since the film is Hedwig's story, Mitchell's performance as the main character was particularly vital in creating a connection to the viewer, whether the topic is ultimately relatable or no. The film, however, lost focus, somewhat ironically, in its direction and cinematography. I think Mitchell, in the transition to celluloid, wanted to up the ante of the visual experience by employing a hodgepodge of different camera angles, techniques, and lighting palates. At one point, for example, the camera, in a jauntily vertical 360, encircles Hedwig's adult head in a mirror of his childhood (while he's laying in the oven). In fact, when the story is told in flashback or in a dream sequence, the techniques were visually interesting and often reflective of the primary emotions being conveyed; however, the more emotionally intense scenes, such as the intimate exchanges with Tommy, employed a more straightforward, visually uninteresting technique, which makes narrative sense but did not adequately draw focus to the budding relationship in a way that justified Hedwig's later obsession. Also, Mitchell's performance wavered in the scenes where more straightforward dialogue was used, and Pitt's heartbreakingly haunting performance also lost some of its luster when his character interacted with Hedwig, as if the two actors weren't all that comfortable together. In other scenes, such as the concert/gig scenes, the imagery and lighting played with colored strobe effects that ultimately felt too busy, even if the intention was to punctuate Hedwig's unresolved anger. In essence, the general visual ideas could be classified as extremely theatrical in presentation, and the lack of consistency could be symbolic of Hedwig's long, up-and-down road to self-acceptance, but it rendered the film version of this unusual tale disjointed in pacing and, thus, in this viewer's interest. The other notable element of this film was Hedwig's fantastic costumes and wigs. Their raucously colorful and occasionally sparkly design further added to the theatricality of the piece. I enjoyed hearing Hedwig's tale and her recounting of her journey toward making peace with herself and her surroundings, since that is ultimately the road the story travels. This lesson is a worthy one for really anyone seething from anger at life and the cars they've been dealt. As I'm pretty happy with my identity (for the most part), I would not run right out and buy this one, so the test does not pass. In the realm of wacky gender-bending, cross-dressing musical comedy with cult followings, I prefer The Rocky Horror Picture Show (though I can't be called a fan, complete with the shouted echoes). Still, as a filmmaking effort, Hedwig and the Angry Inch is entertaining and offers a powerful and interesting story, so I am inclined to rate the film a 7.5 between minor flaws/very good and shaky/entertaining. I also think the film is recommendable to anyone interested in a witty, truthful yarn who is otherwise not offended by such a nakedly in-your-face topic. http://www.spout.com/blogs/spoutblog/archive/2008/3/8/25976.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/8/2008 9:01:00 AM
Body: Rock musicals about rock stars are almost as tiring as independent films about independent filmmakers. They’re too self-involved and too self-satisfying, and they typically have nothing for an objective viewer to grab hold of. But at least with rock musicals, if the audience can dig the music, they can maybe dig the movie, too. This has been the case, for me at least, with such films as Velvet Goldmine and Hedwig and the Angry Inch, neither of which I would have been so into were it not for their excellent glam rock soundtracks. And now the same goes for Rainbow Around the Sun, a neat little low-budget musical fantasy, which interestingly enough also has a touch of glam in its songs, about a very cliché band leader and his very cliché drinking problem and his very cliché story of heartbreak. Here, more than the songs, though, it’s the musical numbers, many of which work on their own as great music videos, that really kept me interested. That tired tale of the troubled, tortured artist/poet/rock star is merely a thin thread for Rainbow Around the Sun, which was adapted from an autobiographical album of the same name by Matthew Alvin Brown, who also stars in the film as singer-guitarist-drunk Zachary Blasto. The plot is like an afterthought, concocted only to connect the album tracks and their “videos”, and though the songs seem like they’re supposed to comment on the story, it’s really apparent that it came about the other way around, that the story is in fact meant only to put the songs into a context. I’d probably have enjoyed it as much, if not more, though, without the loose narrative and its underdeveloped scenes. The film could still have been what it actually is anyway: a cinematic concept album. (more…) Originally posted on:SpoutBlog
]]>Sat, 08 Mar 2008 14:01:00 GMTSpoutBlogSpoutBlog on spout.com3/8/2008 9:01:00 AM Rock musicals about rock stars are almost as tiring as independent films about independent filmmakers. They’re too self-involved and too self-satisfying, and they typically have nothing for an objective viewer to grab hold of. But at least with rock musicals, if the audience can dig the music, they can maybe dig the movie, too. This has been the case, for me at least, with such films as Velvet Goldmine and Hedwig and the Angry Inch, neither of which I would have been so into were it not for their excellent glam rock soundtracks. And now the same goes for Rainbow Around the Sun, a neat little low-budget musical fantasy, which interestingly enough also has a touch of glam in its songs, about a very cliché band leader and his very cliché drinking problem and his very cliché story of heartbreak. Here, more than the songs, though, it’s the musical numbers, many of which work on their own as great music videos, that really kept me interested. That tired tale of the troubled, tortured artist/poet/rock star is merely a thin thread for Rainbow Around the Sun, which was adapted from an autobiographical album of the same name by Matthew Alvin Brown, who also stars in the film as singer-guitarist-drunk Zachary Blasto. The plot is like an afterthought, concocted only to connect the album tracks and their “videos”, and though the songs seem like they’re supposed to comment on the story, it’s really apparent that it came about the other way around, that the story is in fact meant only to put the songs into a context. I’d probably have enjoyed it as much, if not more, though, without the loose narrative and its underdeveloped scenes. The film could still have been what it actually is anyway: a cinematic concept album. (more…) Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/3/4/25843.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/4/2008 11:01:03 AM
Body: Rainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog » karina
]]>Tue, 04 Mar 2008 16:01:03 GMTKarinaKarina on SpoutBlog3/4/2008 11:01:03 AMRainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/4/25842.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/4/2008 11:00:54 AM
Body: Rainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog
]]>Tue, 04 Mar 2008 16:00:54 GMTSpoutBlogSpoutBlog on spout.com3/4/2008 11:00:54 AMRainbow Around the Sun-Full TrailerAdd to My Profile | More Videos Kevin Ely and Beau Leland’s Rainbow Around the Sun, a feature-length musical built around the songs of star Matthew Alvin Brown, is the rare non-doc to find a place on the 24 Beats Per Minute sidebar at the South By Southwest Film Festival. Kevin and Beau answer the 4 Questions We’re Asking Everyone below; as always, you can check out the trailer for the film above. Rainbow Around the Sun premieres this Saturday at 10pm at the Alamo South Lamar in Austin. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. Rainbow Around the Sun is a rock musical chronicling the fall and rise of a burned-out young musician with an overactive imagination. Whenever he is faced with an unpleasant reality, he retreats into madcap musical fantasies where he can control the people around him, until the loss of a loved one forces him to face his demons. Basically it’s 8 1/2 meets All That Jazz meets Hedwig, with a dash of The Polka Dot Polka. The music sounds like a collaboration between Harry Nilsson and Ween. It’s an adaptation of an autobiographical album by our friend, co-writer and star, Matthew Alvin Brown. The three of us have been making shorts together in Oklahoma City for the last couple of years, and this is our first feature. (more…) Originally posted on:SpoutBlog http://www.spout.com/groups/Top_5/Top_Five_Movies_About_Music/190/17927/1/ShowPost.aspx Post By: tmoney
Post To: Top 5
Post Date: 8/12/2007 11:01:39 PM
Body: This category can be music documentaries, musicals, performance films, movies about the music industry (please no one say empire records PLEASE.) 1. Once - I cannot say/blog enough good things about this special special film. It is so lovely and heartbreaking. Watch it. I am not a Frames fan, but the melodramatic rock is perfect for this kind of movie. 2. Spinal Tap - yeah yeah kind of obvious, but it IS great. 3. Hedwig and the Angry Inch -one of my favorite musicals, and my favorite rock opera definitely.4. The Devil and Daniel Johnston - Not my favorite of musicians by far (i mean how much Daniel Johnston can one listen to?), but this is probably my favorite music documentary. 5. Amadeus - it has been years since i've seen this but as i recall it is an amazing film. I love music. i love films. enlighten me.
]]>Mon, 13 Aug 2007 03:01:39 GMTtmoneyTop 58/12/2007 11:01:39 PMThis category can be music documentaries, musicals, performance films, movies about the music industry (please no one say empire records PLEASE.) 1. Once - I cannot say/blog enough good things about this special special film. It is so lovely and heartbreaking. Watch it. I am not a Frames fan, but the melodramatic rock is perfect for this kind of movie. 2. Spinal Tap - yeah yeah kind of obvious, but it IS great. 3. Hedwig and the Angry Inch -one of my favorite musicals, and my favorite rock opera definitely.4. The Devil and Daniel Johnston - Not my favorite of musicians by far (i mean how much Daniel Johnston can one listen to?), but this is probably my favorite music documentary. 5. Amadeus - it has been years since i&#39;ve seen this but as i recall it is an amazing film. I love music. i love films. enlighten me. http://www.spout.com/blogs/glowbugg/archive/2007/8/12/17876.aspx Post By: glowbugg
Post To: glowbugg ramblings
Post Date: 8/12/2007 2:19:53 AM
Body: I loved this film! I usually dislike musicals that are on film, but I didn't pigeonhole this one as a musical, so much as a sing-a-long. John Cameron Mitchell did a fantastic job both musically and acting. I fell in love with the character (and his make-up applying abilities) right from the start. I was a bit confounded by his bandmate who appeared to be male, but sang and looked like a chick with a five o'clock shadow, but that just lent to the quirkiness of the whole film. The soundtrack is brilliant and I watch this film at least once every couple of months or so. Hilariously heartbreaking from beginning to end.
]]>Sun, 12 Aug 2007 06:19:53 GMTglowbuggglowbugg ramblings8/12/2007 2:19:53 AMI loved this film! I usually dislike musicals that are on film, but I didn&#39;t pigeonhole this one as a musical, so much as a sing-a-long. John Cameron Mitchell did a fantastic job both musically and acting. I fell in love with the character (and his make-up applying abilities) right from the start. I was a bit confounded by his bandmate who appeared to be male, but sang and looked like a chick with a five o&#39;clock shadow, but that just lent to the quirkiness of the whole film. The soundtrack is brilliant and I watch this film at least once every couple of months or so. Hilariously heartbreaking from beginning to end. http://www.spout.com/groups/Queer_Cinema/Queer_Musicians_Film/318/15586/1/ShowPost.aspx Post By: unemployedwaif
Post To: Queer Cinema
Post Date: 7/22/2007 11:25:27 PM
Body: The addition of our talented new member nathan503 got me to thinking about representations of queer musicians and how they are portrayed and/or their music is used in film.For me, at least what is coming to mind at this moment, are the glam rockers; specifically Todd Haynes' Velvet Goldmine and John Cameron Mitchell's Hedwig and the Angry Inch. Both films are written and directed by gay men about queer musicians and miraculously succeed at telling poignant, engaging stories that don't fall victim to the abundance of stereotypical cliches that so many others do.Within recent years, a number of films have begun to delve into the lives of rather famous musicians of the past whose queer sensibilities have only recently come to light. Irwin Winkler's De-Lovely which chronicles the life of Cole Porter, and Atom Egoyan's Where The Truth Lies. Unfortunately, due to the (homophobic) powers that be, the films tended to skim the surface of this aspect of their lives and ultimately disguised the queer elements to supposedly appeal to a wider audience. However I think it is the Broadway composers and actors that have comprised a significant portion of cinemas representations of queer musicians. This tends to leak into films such as The Adventures of Priscilla Queen of the Desert, The Birdcage, and To Wong Foo, Thanks For Everything Julie Newmar where the Broadway-obsessed, lisping queen steretype emerges and has definitely left its mark on society. Trick delt with such an artist trying to make it in New York CIty and I liked how the film didn't sideline his musical aspirations and focus just on the relationship aspect of the film. The cinematic adaptation of Rent also deals with young bohemian types trying to flourish in the big city. Films like Camp and Fame showcase the younger teenager set of queer musicians which are fun and oozingly poptastic.In terms of un-campy portrayals of young modern musicians, I can't really think of too much. I know Gregg Araki has had both queer musicians as characters and as actors in his films like The Living End and Nowhere but they aren't fully explored (and are acutally rather campy). Party Monster has it's portrayal of DJ Keoki which again isn't really touched upon (and is rather razzle-dazzle). Rufus Wainwright pops up in Heights but not as himself nor as a musician (I'm pretty sure he's labeled merely an artist). Stephin Merritt (a gay acoustic artist) scored and contributed a number of songs to Pieces of April which is primarily populated with straight characters (aside from Sean Hayes playing an amalgam of Jack and Karen from Will & Grace) so that can't really be counted.So yeah, the representations of queer musicians in film mostly fall victim to cliched stereotypes and/or waxed over to appeal to the heteronormative populace. Since this has been a rather superficial glossing over of the sub-genre, which films have you guys enjoyed/loathed that spotlight queer musicians? And if you don't mind, list some of the films that I haven't (and probably haven't seen) to help broaden all of our horizons. - Chris
]]>Mon, 23 Jul 2007 03:25:27 GMTunemployedwaifQueer Cinema7/22/2007 11:25:27 PMThe addition of our talented new member nathan503 got me to thinking about representations of queer musicians and how they are portrayed and/or their music is used in film.For me, at least what is coming to mind at this moment, are the glam rockers; specifically Todd Haynes&#39; Velvet Goldmine and John Cameron Mitchell&#39;s Hedwig and the Angry Inch. Both films are written and directed by gay men about queer musicians and miraculously succeed at telling poignant, engaging stories that don&#39;t fall victim to the abundance of stereotypical cliches that so many others do.Within recent years, a number of films have begun to delve into the lives of rather famous musicians of the past whose queer sensibilities have only recently come to light. Irwin Winkler&#39;s De-Lovely which chronicles the life of Cole Porter, and Atom Egoyan&#39;s Where The Truth Lies. Unfortunately, due to the (homophobic) powers that be, the films tended to skim the surface of this aspect of their lives and ultimately disguised the queer elements to supposedly appeal to a wider audience. However I think it is the Broadway composers and actors that have comprised a significant portion of cinemas representations of queer musicians. This tends to leak into films such as The Adventures of Priscilla Queen of the Desert, The Birdcage, and To Wong Foo, Thanks For Everything Julie Newmar where the Broadway-obsessed, lisping queen steretype emerges and has definitely left its mark on society. Trick delt with such an artist trying to make it in New York CIty and I liked how the film didn&#39;t sideline his musical aspirations and focus just on the relationship aspect of the film. The cinematic adaptation of Rent also deals with young bohemian types trying to flourish in the big city. Films like Camp and Fame showcase the younger teenager set of queer musicians which are fun and oozingly poptastic.In terms of un-campy portrayals of young modern musicians, I can&#39;t really think of too much. I know Gregg Araki has had both queer musicians as characters and as actors in his films like The Living End and Nowhere but they aren&#39;t fully explored (and are acutally rather campy). Party Monster has it&#39;s portrayal of DJ Keoki which again isn&#39;t really touched upon (and is rather razzle-dazzle). Rufus Wainwright pops up in Heights but not as himself nor as a musician (I&#39;m pretty sure he&#39;s labeled merely an artist). Stephin Merritt (a gay acoustic artist) scored and contributed a number of songs to Pieces of April which is primarily populated with straight characters (aside from Sean Hayes playing an amalgam of Jack and Karen from Will &amp; Grace) so that can&#39;t really be counted.So yeah, the representations of queer musicians in film mostly fall victim to cliched stereotypes and/or waxed over to appeal to the heteronormative populace. Since this has been a rather superficial glossing over of the sub-genre, which films have you guys enjoyed/loathed that spotlight queer musicians? And if you don&#39;t mind, list some of the films that I haven&#39;t (and probably haven&#39;t seen) to help broaden all of our horizons. - Chris http://www.spout.com/blogs/animerion/archive/2007/6/12/10896.aspx Post By: animerion
Post To: Movie Musings
Post Date: 6/12/2007 11:08:17 AM
Body: Plato had an explanation for the reason why love exists not only between man and woman, but also homosexuality. Initially, there were three sexes, the sun (men), the earth (women) and the moon (a hybrid of men and women). These beings were like two people in one, occupying the same body and facing opposing directions. Due their growing insolence, the gods cut them in half. According to this theory, love is in a way, the parts becoming whole, the two halves finding each other and becoming one yet again. I think this concept of love is an intriguing one and makes sense. Instead of find something as ambiguous as a soulmate or something of the like, you are finding someone that compliments you in one way or another to complete the whole.As I could discuss this topic in more detail, this is a movie review and not thesis on mythology, but as a basis of the story for Hedwig and the Angry Inch. Musicals are something that I am very hit or miss about. One thing I really like about about musicals is that a fair number of them take place in a very hyper-kinetic reality, but if done incorrectly the film can lose any sort of basis in reality. While there are clearly over the top moments as this is partially a comedy, its still fairly grounded and make for a more believable film.One of the aspects of the film that I really liked about this film is the writing. It has an almost poetic rhythm to it, coupled with flowery dialog while I tend not to really care for verbose language, it seems to really work here especially during early scenes between a younger Hedwig and Tommy Gnosis, as it sort of represents their blossoming relationship. The music in the film is generally hard rock, with a ballad or two thrown in there for good measure. So instead of the "razzle-dazzle" numbers of typical musicals, we get music that is more my personal taste, as well as serving the purpose of moving the plot forward and providing exposition. Notable numbers are "Origin of Love" outlining Plato's story above, "Sugar Daddy" about Hedwig's first male experience, and Wig in a Box about Hedwig's outward transformation to the person she is throughout the movie.I think this is more than a musical. John Cameron Mitchell (Hedwig, director) has crafted a tale that may not be fore everyone, but I think it can speak to people who feel that they may be the outcasts of their respective societies, as well as those looking for their "other half." The writing, music and acting make for a film that while campy, is still very high caliber and is a great watch if you are ever in the mood for a good time.
]]>Tue, 12 Jun 2007 15:08:17 GMTanimerionMovie Musings6/12/2007 11:08:17 AMPlato had an explanation for the reason why love exists not only between man and woman, but also homosexuality. Initially, there were three sexes, the sun (men), the earth (women) and the moon (a hybrid of men and women). These beings were like two people in one, occupying the same body and facing opposing directions. Due their growing insolence, the gods cut them in half. According to this theory, love is in a way, the parts becoming whole, the two halves finding each other and becoming one yet again. I think this concept of love is an intriguing one and makes sense. Instead of find something as ambiguous as a soulmate or something of the like, you are finding someone that compliments you in one way or another to complete the whole.As I could discuss this topic in more detail, this is a movie review and not thesis on mythology, but as a basis of the story for Hedwig and the Angry Inch. Musicals are something that I am very hit or miss about. One thing I really like about about musicals is that a fair number of them take place in a very hyper-kinetic reality, but if done incorrectly the film can lose any sort of basis in reality. While there are clearly over the top moments as this is partially a comedy, its still fairly grounded and make for a more believable film.One of the aspects of the film that I really liked about this film is the writing. It has an almost poetic rhythm to it, coupled with flowery dialog while I tend not to really care for verbose language, it seems to really work here especially during early scenes between a younger Hedwig and Tommy Gnosis, as it sort of represents their blossoming relationship. The music in the film is generally hard rock, with a ballad or two thrown in there for good measure. So instead of the &quot;razzle-dazzle&quot; numbers of typical musicals, we get music that is more my personal taste, as well as serving the purpose of moving the plot forward and providing exposition. Notable numbers are &quot;Origin of Love&quot; outlining Plato&#39;s story above, &quot;Sugar Daddy&quot; about Hedwig&#39;s first male experience, and Wig in a Box about Hedwig&#39;s outward transformation to the person she is throughout the movie.I think this is more than a musical. John Cameron Mitchell (Hedwig, director) has crafted a tale that may not be fore everyone, but I think it can speak to people who feel that they may be the outcasts of their respective societies, as well as those looking for their &quot;other half.&quot; The writing, music and acting make for a film that while campy, is still very high caliber and is a great watch if you are ever in the mood for a good time. http://www.spout.com/blogs/patches/archive/2006/5/31/1328.aspx Post By: patches
Post To: Litter Box blog
Post Date: 5/31/2006 11:24:00 PM
Body: Originally a cult performance in the meat-packing district in NY, this film is raw. Hedwig brings fascinating characters, great music, and surprising performances to the table. I watched this film three times in a row after we bought it... got the soundtrack and watched all of the extras that same week. I got a few others to watch it too, but all seemed confused about my (at that time...) infatuation. There are these angsty animated illustrations that bridge Hedwig's love life, child hood and singing professional life together. The extras on the dvd are pretty fresh as well. It's not something to watch with others who are opposed with homosexuality, sex changes, cross-dressing, modern love tales, and rock-operas but who watches cool movies with people like that anyhow? Think Rocky-Horror Picture Show meets... I dunno, Say Anything?... I'm stretching there... watching this one with like-minded people.
]]>Thu, 01 Jun 2006 03:24:00 GMTpatchesLitter Box blog5/31/2006 11:24:00 PMOriginally a cult performance in the meat-packing district in NY, this film is raw. Hedwig brings fascinating characters, great music, and surprising performances to the table. I watched this film three times in a row after we bought it... got the soundtrack and watched all of the extras that same week. I got a few others to watch it too, but all seemed confused about my (at that time...) infatuation. There are these angsty animated illustrations that bridge Hedwig's love life, child hood and singing professional life together. The extras on the dvd are pretty fresh as well. It's not something to watch with others who are opposed with homosexuality, sex changes, cross-dressing, modern love tales, and rock-operas but who watches cool movies with people like that anyhow? Think Rocky-Horror Picture Show meets... I dunno, Say Anything?... I'm stretching there... watching this one with like-minded people. http://www.spout.com/members/0/tags/beautiful/MemberTagFilms.aspxbeautiful
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