Happy Valley (2014)

In this country, many can agree that rape, molestation, and using manipulation to do so is not only legally wrong, but also completely morally unacceptable. Society wonders where those with a preconceived idea that rape and molestation are okay, and one has to assume that such people who do pursue such outrageous acts are very, are actually very sick.

Jerry Sandusky raped and molested children and pursued this personal goal of his through manipulation. Amir Bar-Lev’s (Producer/Director/Writer) documentary film, Happy Valley, observes this and examines the people who chose to protect him, even if their eyes were cast down in an ignorant haze. Society wonders if those who condoned such acts were also manipulated themselves, and one must assume that they were. Regardless, is it somewhat acceptable to look down, away from the horrors of reality, if they are too opaque to notice at the moment, but once the truth is revealed…it is better to take action. Look straight ahead at the opposing force, and that blank stare it holds, and challenge it with every inch of reason, and more importantly, heart, that you might have. Happy Valley does just this.

Spread through newspaper clippings, on online press outlets, and social media posts, many readers and users of these sites have posted, “shared,” and expressed the blatant sexual assault that Jerry Sandusky subjected his victims to. How could such a respectable man do such horrible things to impressionable children? How could the men who worked around and supported him condone this? Amir Bar-Lev chose to examine this, to delve into the words of the people who surrounded him during this time, including one of his victims, his own adopted son. As the documentary presents it, Jerry Sandusky’s family didn’t seem to know what he was doing behind closed doors with the boys he had brought to games: as a reward, a gift that screams keep quiet, if you won’t tell, I won’t.

Clearly these children were manipulated. They were given perks in exchange for their innocence. As many rapists and molesters do, Jerry Sandusky manipulated these boys by giving them options that appealed to them most.

Under normal circumstances, a lot of boys want to go to football games. They are fun, entertaining, and it’s a part of childhood for many boys…to be a part of a team, or to watch a team succeed. But Sandusky exploited this. He took advantage, and this is where the lies he formulated really took their place among the saddest occurrences that have happened in college football. How could a sport that is so full of life, and fun, be turned into a sick game of manipulation? As the documentary shows, Sandusky performed these acts of manipulation so blatantly, and this is why he got away with it. It’s important to understand how such horrors occur, rather than why. The “why?” is something that one really doesn’t have to know, because only the perpetrator, in this case, Sandusky, really knows why exactly he chose to rape and molest children. The how will tell people the signs to look out for in the future, when all seems well.

Sandusky brought the children he abused out in public, to games and events. A great treat, I guess it seemed, when behind closed doors, he chose to rape and molest them. Happy Valley exhibits that this is why so many people didn’t realize that something was wrong. One expects that after a rape, the individual who performs the violent act of degradation will flee the scene, but it was very clear that Jerry Sandusky knew better than to run. Happy Valley shows that if he had left suddenly, without explanation, or cut off contact with these children, he would have been caught sooner. Here is where the sickness of the crimes he committed really took shape and revealed themselves as a formulated, premeditated plot to deceive the society he had worked so hard to impress. The documentary shows people, even those who were close to Jerry Sandusky, that society was deceived by this plot, these notions to cut off all ties of rescue for these children—these young, impressionable boys.

At one point in the documentary, tourists flock around a statue of Joe Paterno to take photos with it before it is torn down. Was taking this statue down rightful? You’ll have to decide based on the sufficient evidence that is revealed in Happy Valley. Paterno sent emails revealing that he knew of Sandusky’s abuses against the boys that he raped and molested. In one short line of an email thread, it is revealed that Paterno said that he would take care of these abuses. He eventually reported it, with a short time lapse in between his report. For the benefit of avoiding a scandal, it seems, that Paterno attempted to slip these abuses beneath the cover of a respectable institution.

Throughout the film, there are different scenes focused on a mural of individuals who have presumably shaped the positivity of Penn State University. Jerry Sandusky and Joe Paterno were both a part of this mural, their individual figures monuments for the university. The initial mural is first shown. After the documentary progresses to different scenes, the mural reappears. Throughout the course of the documentary, the mural’s artist decides to paint Jerry Sandusky out of his respectable cover. Another scene shows the artist painting a halo on Joe Paterno. Later in the documentary, the artist removes Paterno’s halo, when it is revealed that he might not have reported Sandusky the way he should have—with force and without resistance. Eventually, the artist painted a flower into Paterno’s hand, after he passed away. At one point, the mural’s artist mentions that deciding whether or not to remove Paterno’s halo was the hardest thing he’s ever done. Hyperbole does not work when you’re talking about something as serious as sexual crimes against children.

Regardless, Joe Paterno did not commit this crime, he only chose to condone it. Amir-Bar Lev said at the Hamptons International Film Festival Q & A: “Joe Paterno went from, overnight basically, went from being this sanctified paragon of virtue to a person who was reviled by most of America.” The real focus should be on Jerry Sandusky and how he was able to commit these crimes.

There is a scene in Happy Valley where, presumably, Penn State football fans are attempting to take photographs with the statue of Paterno that was to be taken down. The documentary shows that it was incredibly difficult for Paterno’s family to know that their husband and father’s credibility was now tainted and that such monuments that were established in his honor were going to be dismantled and discarded as trash. For his family, who hadn’t known of Jerry Sandusky’s sexual exploits, it was incredibly difficult, the documentary shows, transiently. For the children who were abused, one can only assume that it was and is still incredibly difficult to move past the fact that they were tricked by a man of power—similar to a witch who only acts upon his victims with a simplistic motive, driven by the impulsivity of carelessness— with candy and game tickets. An activist who was daringly standing in the photographs that these fans were trying to take before the statue was taken down, assured that the people he seemed to be bothering, or so they said, that he had the right to be standing there, as they complained. After calling one of the men, who wished to take a photograph with Joe Paterno’s statue, a “pedophile enabler,” the activist was verbally abused by this fan’s insults. Although Joe Paterno was not a pedophile, it is implied that because Paterno wasn’t as forceful about finding justice for these children as he thought, he directly became a condoner of these acts, and the people who wish to hold Joe Paterno on a pedestal, are pedophile enablers themselves.

During the Q & A after the screening of Happy Valley at Hamptons International Film Festival (2014), Director Amir Bar-Lev spoke of semantics, drawing upon symbols. How his previous films were focused on symbols of a “hero” and an “angel,” and how, in a way, Happy Valley was a film that partially touched upon fatherhood—it is not so much applied to Jerry Sandusky as a father, but to his adopted son who protects his own children from the abuse that his adoptive father subjected him to. Sadly, this happened, and initially, in the documentary, Sandusky’s adopted son denied that these acts of abuse happened to him, because he, like the other children Sandusky abused, did not realize what was happening to them at the time, because of the manipulation they were subjected to.

Jerry Sandusky’s adopted son, Matt Sandusky, is a father who builds for his children. To protect them, to keep them safe, and in this documentary, he has assured his children that the people who they knew as grandparents “are not good people.” Matt fills a wall in his basement for his children, and before anything else it is a labor of love.

On a larger scale, Happy Valley touches upon problems within our society that are happening every day, among people in power. If a person has the opportunity to direct a situation, he or she should remember that taking advantage of another human being, depending on the situation, is illegal, immoral, and disgusting, whether it is sexual, emotional, mental, and/or physical abuse you are subjecting that person to. People are not only traumatized by sexual abuse, but there are many situations when their lives are permanently ruined if they cannot handle the situation properly, through therapy or emotional support by non-abusive family members and friends.

It’s also important to remember that Penn State as a university should not be blamed for the actions of the few individuals, who either pursued or condoned such abuses. The team players, students, staff & faculty, and other members of the administration who had no idea what was happening should not be blamed. There were many people who were included in this film who assured, with honest demeanors, that they had no idea what was happening behind closed doors, or even, within open locker rooms. In contrast, there are a few individual administrators, who according to the documentary, were to be reprimanded for condoning these abuses for, simply, not reporting implications of these abuses. Amir Bar-Lev mentioned that it may happen in 2015 now, and that their trial had been pushed back since the making of this film.

Matt Sandusky fills a wall in his and his children’s basement, and it is love and protection that drives him. When so much wrong has been done to a person, the fact that he is able to continue to love and care for the people that he, noticeably, unconditionally loves is something that more people should learn to do. There’s a lot of negativity in this film; the general premise is very depressing. But it ends on a positive note…that someone, and people in general, who have suffered through so much can and will have a chance to make their lives better every day. The honesty within this film does not make up for the dishonesty that the manipulator ticket salesman extraordinaire practiced for much too long, but, perhaps, it brings to light questions that weren’t answered to those who read off the sides of days old newspaper clippings in the street. It fills in the blanks for the people who didn’t know what was truly happening, and more importantly, how the victim turned heroes really do prevail once they fill in the blanks, or really, the walls themselves.

Before you accept an offer, recognize the motive, the setting, the tone of voice. Happy Valley will teach you to do this, and in a world that hopefully progresses with such honest filmmaking…perhaps the world can become somewhat of a better place.

Amir Bar-Lev gave credit to Molly Thompson, a person who he told the audience “I do all my films with.”

Happy Valley screened at Hamptons International Film Festival this October (2014)

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Hamptons International Film Festival 2014: Photo Collection

The Hamptons International Film Festival took place this October. Film Syrup covered the festival as press, providing a few articles, so far including films, “The Duke of Burgundy” and “Force Majeure.”

Hamptons 2 Film Syrup Colleen Rowe Paige Skelly

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Hamptons 3 Film Syrup Colleen Rowe Paige Skelly

Hamptons 5 Film Syrup Colleen Rowe Paige Skelly

Hamptons 6 Film Syrup Colleen Rowe Paige Skelly

Hamptons 8 Film Syrup Colleen Rowe Suzanne O'Regan

Hamptons 9 Film Syrup Colleen Rowe Suzanne O'Regan

Hamptons 10 Film Syrup Colleen Rowe Suzanne O'Regan

Photographer: Colleen Rowe

Photo Editors: Paige Skelly & Suzanne O’Regan

A studied behavioral experiment gets the lush cinematic treatment in Ruben Östlund’s icy, darkly funny “Force Majeure”

Written by Daniel Spada

Force Majeure [Turist] (dir. Ruben Östlund, 2014)

Seen at Hamptons International Film Festival on 10/10/14

US (limited) theatrical release: 10/24/14

An avalanche – a visual spectacle most of us are unlikely to see throughout the course of our lives, depending on our fondness of the slopes and our class position. This spectacle acts as the inciting incident of Ruben Östlund’s fourth feature, Force Majeure, collapsing the family unit at the center of the film and leaving some very emotionally unstable “adults” in its wake. The avalanche dually serves as a metaphor for the bourgeois Swedish couple’s matrimonial meltdown and the effortless challenging of gender roles’ basic foundation (not lack thereof per-se, but situatedness). Filled with credible performances and well drawn characters, especially the supporting ones, Östlund’s ideological inquiry is bolstered by an obsessive, formalist attention to detail – frames filled with etched-in meaning and musical cues used to jarringly effective ends.

We understand Tomas as a well-to-do, distracted, work-obsessed father from the first few scenes, in which he sneakily checks his iPhone in bed, and his wife Ebba tells her friend Charlotte at the lodge that they’re there on vacation because Tomas has been working so much. “So now he has five days to focus on his family,” she says. This, however, makes him no more or less an empathetic character. The scene that definitively rules him out as an empathetic character is the one in which, on Day 2, while having lunch with his family at a restaurant overlooking the slopes and reassuring them that the cascading snow they’re seeing is controlled, he sprints away to his safety (not without said precious iPhone), leaving Ebba to wrangle up the distressed kids all by herself.

The pressures of hetero-monogamous familial relationships hang heavy in the French Alps air, as Ebba persistently attempts to figure out her husband’s insistence on their two self-professed differing perspectives regarding the incident. At one point during a dinner with Charlotte and her English-speaking date, he offers the absurd rationale of not being about to run in ski boots. Östlund very cleverly holds the long shot of the both of them for several seconds past the point of excruciating embarrassment when Ebba repeats what he said to the couple. Ebba’s entirely believable patent disbelief and Tomas’ authentic humiliation and discomfort underscore the impressiveness of both Lisa Loven Kongsli and Johannes Bah Kuhnke’s performances.

In a later, private moment between Ebba and Charlotte, Ebba’s dissatisfaction with her current situation hits a peak when she inquires about Charlotte’s sexual escapades (it is important to note that she does have a husband and children). Charlotte’s questioning and challenging of the foundation of human sexual norms is cut and dry. Ebba’s response, however, is not. Her anger is paired with nothing if not a distinct curiosity about Charlotte’s line of thinking (and self-professed actual lived way of life), which regardless of whether it is a put on air or not, deeply rattles Ebba. Ebba is not let off the hook, as she is depicted as a bit jealous of Charlotte’s disposition, but also neither is Charlotte. Her nonchalance is undercut by hypotheticals, the answers to which it is possible even she is unsure although she speaks with certainty.

A key moment comes along after Ebba persists in telling the story, once again, to an old friend of Tomas, Mats, and his girlfriend Fanny. The tension rises as Ebba becomes increasingly emotional about what it means that Tomas ran for his life, and Mats and his girlfriend get more uncomfortable over time. Eventually, Mats begins a tepid but clear defense of Tomas and Fanny comes to Ebba’s comfort (it is unclear about whether Mats actually believes the absurdity that he speaks or just feels bad for Tomas, attesting to the power of Kristofer Hivju’s supporting performance). Fanny then proceeds to tell Mats that she doesn’t think Mats would save their children in a hypothetical situation, while an older generation of men would have come to the aid of their spouses. Fanny understands the changing nature of gender norms and masculinities, just like the genesis of the silly contemporary gendered attachment to such colors as blue and pink, while Mats is overwhelmed by her apparent lack of belief in his ideal masculinity and paternal instinct.

In one of the most entertaining sequences of the film, Tomas and Mats are relaxing on beach loungers and drinking beers after a tough day of skiing during which Mats attempts to purge Tomas’ guilt and shame by making him yell into the snowy void. Electronic dance music playing in the background, Mats encounters a younger woman who tells him her friend thinks Tomas is attractive. A short while later, she returns to recant her statement, saying that she meant someone else. Mats’ initial reaction is disbelief – he thinks they’re kidding around – and then anger, while Tomas stays laying in his chair, clearly a little embarrassed about the mix up. The two of them then proceed to laugh it off, which is what the audience has been doing all along.

In what seemed like a tidy way to end the film, the second-to-last scene offers Tomas a chance at temporary redemption. While an open ending at once seemed likely, the viewer is slammed with an ending that calls for an overall deeper examination into how this vacation has affected everyone involved. Not to offset the serious philosophic base of the film, Östlund’s finely spun yarn is undercut with amusing and humorous visual gags – a child’s toy comes crashing into a serious conversation, while a judgemental janitor appears out of thin air at the most untimely moments. Vivaldi’s “Summer”, used to emphasize the chaos and disorder of the family’s post-avalanche scare state parallels well with the crisp, uniform images of the ski slopes being prepared daily, attracting our attention to man’s need to control nature. When the avalanche hits on Day 2, it almost feels too real, and though we haven’t really been given enough time to invest in these characters, I felt like running for my life, not unlike Tomas. What is certain, though, is that the professional photographs they had taken on Day 1 certainly don’t reflect who they are as people now.

CBGB MUSIC AND FILM FESTIVAL 2014: BOWERY ELECTRIC & VILLAGE EAST CINEMAS

Film Syrup made its way down to the CBGB Music and Film Festival in the East Village, NYC, last Friday, October 10, 2014. The Bowery Electric, a dimly lit venue with lighting that casts a casual, personable tone upon its stage hosted a few music artists: highlighted here are Silver Dollar and Marc Ford with Elijah Ford and The Bloom.

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You have to love a band with a sense of humor.

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Silver Dollar:

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Marc Ford with Elijah Ford and the Bloom:

Elijah Ford took the stage by himself, initially.

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Film Syrup then headed to Village East Cinemas, where people were gathered around the theatre, getting ready for screenings.

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Overall, the CBGB Film Festival made a big impact on the city last week, bringing music and film together to form a collaboration between industries that help to entertain the masses. Film Syrup chose to cover the East Village venues where the personality is contagiously direct. There were many other venues that hosted different artists, and with high hopes we look forward to CBGB 2015.

CBGB Music and Film Festival says “Thank you New York: See You Next Year!”

“Sick Exhibitionism” in John Waters’ “Female Trouble”: I can take much more!

By Colleen Rowe

The first time I ever watched a John Waters film was when I was ten years old— it had been almost a decade since it had been released. Serial Mom (1994) was initially shocking for me, but even at that age I understood the humor of Kathleen Turner’s portrayal as Beverly Sutphin. I always made sure not to wear white after Labor Day after that, especially in areas where phone booths were prevalent.

Over the years, I watched a few of John Waters’ films here and there, but in my late teens, I was finally shown Pink Flamingos (1972) for the first time by a friend. I’m not sure what my friend was thinking, to be honest. Not because I felt overly disgusted by Pink Flamingos, which is the appropriate response, but because it was our first one-on-one interaction together. I didn’t see much of my friend after that.

IMG_6796John Waters post screening of Female Trouble at Lincoln Center Film Society’s “Fifty years of John Waters: How much can you take?”

After the initial horror of egg-eating, ass-dancing madness, I decided that Pink Flamingos was truly original. As Mink Stole said in a clip from AMC’s nine-part series, Movies that Shook the World: Pink Flamingos, “There’s barely a moment in it that could be shown to any God-fearing household.” If you can make audiences twist their faces in anguish as you present a larger, thought-provoking point, you have truly accomplished something great. Waters explained that when titling Pink Flamingos he wanted it to have a non-sensational name since the film was so shocking in itself. Waters did this by capturing the foul, puke-antagonist that is Pink Flamingos and its “poor step-sister,” as he termed it, Female Trouble./ Theme song./

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J. Hoberman and John Waters at the Walter Reade Theater during opening night of Lincoln Center Film Society’s Fifty Years of John Waters: How Much Can You Take? Q & A post-screening of Female Trouble.

Dawn Davenport’s (played by Divine) psychotic behavior is partially foreshadowed in the infamous Christmas morning scene where she actually pushes her mother (her parents didn’t buy her Cha-cha heels!) and a Christmas tree falls on her. At the Walter Reade Theater at the opening night of Lincoln Center Film Society’s “Fifty Years of John Waters: How Much Can You Take?” Waters recounted to critic J. Hoberman and his audience that a Christmas tree had fallen on his grandmother when he was growing up and he exaggerated slightly. She was not hurt, as Davenport’s mother seemed to be. “Knocking over the Christmas tree has become a holiday favorite,” Waters remarked on Friday night, a comment that made the audience explode with laughter.

IMG_6775Outside of the Walter Reade Theater at Lincoln Center

Waters educated the crowd on Cha-cha heels further, explaining that a lot of people didn’t know what real Cha-cha heels looked like (Apparently Cha-cha’s had smaller heels than most people thought). He added comically, “I had to teach drag queens about life.”

Dawn runs away after her dramatic outburst and crosses paths with Earl Peterson (also played by Divine). Earl literally screws himself for associating with a woman such as Dawn, and vice versa.

One of the greatest characters in Female Trouble is Taffy Davenport. Mink Stole portrays the older 14-year-old Taffy who interrupts Divine and her husband, Gater (Michael Potter), while they are having sex (take note that Mink Stole was in her late twenties when this film was made). Taffy’s responses to Gater are honestly appropriate. He’s a sick pervert and she knows it. Her infamous line: “I wouldn’t suck your dick unless I was suffocating and there was oxygen in your balls!” will make audiences laugh out loud with the follow-up classic one-liner, in response to Gater’s questions: “Writing a book, hippy? Why don’t you go listen to some folk music and give me a break!?” Taffy is emotionally and mentally tortured throughout this film and she has every right to insult the “morally bankrupt,” as the only apparently logical character, Dawn’s doctor, calls them, adults who surround her.IMG_6809Initially, Dawn and Gater spend a lot of time at a local beauty salon where Gater works. Here, Dawn meets the bigot-yuppie couple, Donald (David Lochary) and Donna Dasher (Mary Vivian Pearce) who are absolutely obsessed with beauty. With her eyes perpetually rolling, Sally (Sally Albaugh), a customer at the salon, comments: “Well throw a goddamn penny in the fountain and make a goddamn wish and maybe it will come true.” Waters always found it hilarious that a lot of people had wishing wells on their front lawns. Along with other front lawn decorations, a lot of people also had pink flamingos. John Waters commented that he disapproved of the resurgence of pink flamingos that critic, J. Hoberman, spoke about during the Q & A at the retrospective’s screening of Female Trouble. Waters said, “‘I’m for them if you’re 75 years old and you have the plaster kind, the original since the 40s, I’m against it if you’re a yuppie with a plastic one on your front lawn meant to mock blue collar people.” He added: “Now they’ve become wearisome.”

Waters also expanded upon the act of “hitchhiking,” which Divine does in Female Trouble. Waters said, “Most people don’t know what hitchhiking is. I was hitchhiking once in Provincetown and a family picked me up. The little kid was staring at me like “’Dad, why is this man in the car?’”

Taffy is the only one who seems to realize how preposterous the idea of Dawn’s modeling career is. When Donald Dasher says that the camera he has is for taking pictures of Dawn, Taffy blatantly exclaims, “You must be cock-eyed!” and proceeds to annoy Donna Dasher with her drawn out “Hey, Laaady” as she drops chips all over Donna, who pretty much deserves it. One of the best lines in Female Trouble (keep in mind that almost every line is quotable in its entirety) is said by Donna Dasher after Dawn offers them dinner. With a long drawn out half-sigh, Donna says: “I couldn’t possibly eat spaghetti. Do I look Italian?” It isn’t so much the comment, which is in itself hilariously ridiculous, but the way Pearce says it.

This is not the only notable comment by Donna, who says to Dawn, dreamily, with the seduction of the movie-fame life overhanging, “We’ll give you a new look, an interest in life… and together, we could overcome… this boredom that imprisons us all.” Pearce’s drawl is the voice we hear when we read advertisements on highways, pushing without direct contact with the subject. Those sprawled out magazine famous models are the products that their industries make them become, and Pearce portrays this almost too perfectly with an eerily captivating tone. Her voice is the fine print that we did not care to read.

Dawn’s violent tendencies are finally captured! The Dashers start taking photographs after young Taffy throws a bowl of Dawn’s spaghetti at the wall. As Dawn is about to beat Taffy down with a chair, the Dashers excitedly ask her to pause for a great shot. Don’t worry, it doesn’t stop her from performing the act, and suddenly Taffy is Dawn’s trophy, messily sprawled across the floor like an overused prop. So Dawn begins to trade pain for fame, as many people do, and then a serious undertone takes its place beneath the blatant comedic obscenities that are performed. The Dashers are loving it: the exploitation, the opportunity to record shocking images. They are the show business industry.

While the Dashers embrace conforming behavior, or what they think is impressive, Gater’s Aunt Ida (Edith Massey) defames it. Aunt Ida states, “The world of the heterosexual is a sick and boring life.” It sounds familiar, maybe it’s usually said a little differently. How many times have we heard it on the street, at work, in school, among colleagues, friends, acquaintances, and especially enemies?: “Homosexuality is sick”, but Aunt Ida turns around and points the finger at you, heterosexuals! Why are you the exception? Aunt Ida is an important metaphor for the ignorant phrases we hear of those who dwell too long in the realm of homophobia. The next time you’re about to express a phobia against someone’s sexuality, just think of Edith Massey, and how she looks better than you in that tight, black dress.

Female trouble escalates quickly. Dawn starts to completely lose her mind as The Dashers direct her like sideshow puppeteers. Behind the scenes of her first big performance, Dawn points a gun at The Dashers, shaking it playfully with big, wandering eyes. This scene is hilarious at first glance; the shot of her as the screen flicks back to the dressing room where her high school friends, Concetta (Cookie Mueller) and Chicklette (Susan Walsh), and The Dashers sigh happily with joy as Dawn forcefully dangles a lethal weapon.

Taffy shows up behind the scenes, dressed beautifully with a new light in her eyes. She has joined the Hare Krishnas, a decision that has seemed to affect her positively.Taffy speaks with Aunt Ida who tells her, “If you get tired of being a Harry Krishna, you come live with me and be a lesbian.” It’s a pretty great offer.

Dawn “embarrassed” and horrified that Taffy has chosen to associate herself with such a group, strangles Taffy within minutes and the witnesses squeal with happiness. Taffy had said to Dawn, before she had left to be a part of the Hare Krishnas,“You can’t kill Krishna because Krishna is consciousness.” If you beat it down or ignore it enough, I guess you really can kill something.

Why do onlookers and show business “professionals,” i.e, The Dashers, find the thrill of being killed so humorous? Why is Dawn being presented as a part of a show when she should really be getting some psychological help? Why is any of this okay in any film? Oh, you will make a lot of money. In fact, it’ll be a hit! You’re famous suddenly as the screen turns red.

Dawn’s speech during her show is most memorable:

“Thank you from the bottom of my black little heart! You came here for some excitement tonight and that’s just what you’re going to get! Take a good look at ME because I’m going to be on the front of every newspaper in this country tomorrow! You’re looking at crime personified AND DON’T YOU FORGET IT! I framed Leslie Bacon! I called the heroin hot line on Abby Hoffman! I bought the gun that Bremmer used to shoot Wallace! I had an affair with Juan Corona! I blew Richard Speck! And I’m so fucking beautiful I can’t stand it myself! Now, everybody freeze! Who wants to be famous? Who wants to DIE for art?”

As Dawn says, “everybody freeze!” she reveals a gun, pointing it at the crowd. As she shows herself off, her trampoline routine is quite entertaining, but as soon as the weapon is revealed the situation changes from hilarious to truly terrifying in an instant.

In the final scene, Dawn is strapped to an electric chair. During his Q & A with Hoberman, Waters recounted that he and his crew, “Walked across the prison yard carrying the electric chair.” He continued, “Could you imagine that being allowed today?” The prisoners, probably horrified, were onlookers right before this scene was shot.

After laughing so hard throughout the film, it’s shocking how calm you’ll suddenly become as Dawn is finally reprimanded for the seriousness of her “sick exhibitionism”, as Donna Dasher calls it. Dawn states in her testimony during the trial that produces the result of her landing in that death chair, “How can they not want to die if they want to become famous for it?” and “Without all of this, my career couldn’t have gotten this far.” Here, the timeless question is asked through dialogue: How far will a person go for money and fame? Dawn is proud of the offenses she has committed against others. She demands to be on television.

The most horrific stories are always highlighted in the news, movies, books. People like to talk about murder or any terrible crimes because it makes their content in its entirety more interesting. Forget about morals, it is all about the special recognition. If you’re watching a film made by John Waters, the violence isn’t overtly gruesome like many films today exhibit. The dialogue is the key factor while watching Female Trouble. There are countless subtle meanings behind almost every sentence that reflect a critical idea. Through the dialogue that runs smoothly alongside the situations portrayed, homophobia, religious persecution, child neglect and abuse, sexual exploitation, snooty upper-class norms, glamorizing drug use, and many other social issues, are portrayed obscenely but correctly.

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On opening night, a few of the Dreamlanders were present at Lincoln Center Film Society’s John Waters Retrospective, including Mink Stole. Kathleen Turner (Serial Mom) was also present. He described the Dreamlanders who were present, and also those who have passed on, as “my friends, my colleagues, my gang,” some of them for over 50 years.

Prior to the screening, Waters said, somewhat apologetically, that he is sorry that everyone in this movie seems to be screaming constantly. It’s a very “loud” film. Overall, Waters said that this film, after its initial release got good reviews, “but people didn’t know what to make of it at the time.”

Today, John Waters, remains a huge part of pop-culture, influencing other filmmakers and social commentators.

There’s one great lesson to learn from Female Trouble: Remember to never mention a sex act in front of anyone respectable and rich because it is vile and crude!