This Filthy World (2006)

Fantastic!

In truth, there is barely enough story here to make a film.

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

The film never slows down or bores, plunging from one harrowing sequence to the next.

All this really is, is a lecture from John Waters telling stories from his life. That being said, Waters has lived a pretty interesting life, so this could have been twice as long as still been entertaining.I love how he explains being influenced by William Castle and "the Tingler", as well as the work of Kroger. I love the idea of books being sexy. And even the thought that Aileen Wuornos deserved thanks from Charlize Theron for the Oscar.The Michael Jackson joke was alright, and the Whitney Houston drug joke is even more powerful now that she is deceased (I wonder if he still tells it). Best of all was the concept of a trial tour, where people travel the country to go to notorious trials. I had never thought of that...

Any inspiring film student or anyone who dares call themselves a "cinephile" should feel obligated to watch at least a few of John Waters's films. They're not for everyone without a doubt, but they're a rare breed; well-made shock films. They have a certain style, wittiness, and art that isn't captured enough today. Waters' earliest films, most stamped with an "NC-17" rating, are some of the most wonderfully conducted bad taste films out there. And his style definitely needs to be revived in some way.We don't have shock cinema like we used to. Now, we have films like Hostel, Saw, and those of the torture porn genre. We no longer have films that don't include sex or violence that still achieve an NC-17 rating. Mostly because I think we've reached a void where we believe we have to include at least one of those to be moderately successful.Clerks, the film I still cite as my favorite of all time, was originally stamped with an "NC-17" rating just because of its explicit dialog. No sex, violence, or drug use (minor smoking sequences, but nothing extreme). Just very dirty, perverse conversations conducted in explicit and broad detail. Never have I heard such proudly cruel language in such a film. On top of being proudly cruel, just constant and shameless. There was a movie that wasn't afraid to be daring.But it also captured the way people are in real life. When two men talk about their relationships and sex-life, anything is bound to come up. That is why Clerks is my favorite film. Its captivating realism and its sense of urgency compliment it in a way no film I've seen does before.I've trailed off course. Most likely because when I think of Waters's cinema, I try and think of how it relates to other films that I've developed an increasing fondness for. We have him to thank for threatening the very limits of people, film, and common, adequate decency. John Waters: This Filthy World is Waters conducting his famous "This Filthy World" lecture/standup routine in front of a full house at The Harry DeJour Playhouse in New York City.Waters chronicles his early childhood life, going to drive-ins, talking about films he liked as a kid, underrated directors he enjoys, and his early 8mm and 16mm films like Hag in a Black Leather Jacket, Eat Your Makeup, and Mondo Trasho, those of which are often shown at his festival John Waters: Change of Life. To my knowledge, those short films aren't commercially available, except for some very rare, out of print VHS tapes.He then starts to get into his full length films one by one. But he does them so fast we don't get a very solid understand. It isn't like Kevin Smith's Q&A sessions where we can't possibly leave the room without our question being answered. Though it is more concise than the work of Kevin Smith, it lacks many things I wanted to know.For instance, how did Waters pay for many of his early films back when it was difficult to get money for films that relied on shock aspects? Also, I wanted to hear more about Waters' opinion on the critics when it comes to his films. All of his films have garnered severely mixed ratings from different critics. Some love them, some hate them. I wanted to know what he had to say.Not to mention, some of his later films a lot of his fans say derailed in quality compared to his older films. I hear many fans cite Cecil B. Demented and A Dirty Shame as some of his most tragic works. A Dirty Shame was a too little, too late effort from a man who simply doesn't fit in during the present time. The film focused on fetishes, which aren't really funny because the fact is that some people have the strangest, most incomprehensible desires and pleasures in the world that it doesn't come as surprising or shocking. It just comes off as failed comedy.Thankfully, Waters early cinema was a provocative art form. Somewhere along the way, I believe after Divine's tragic death in 1988 - three weeks after the release of Hairspray, Waters became more focused on serious films that lacked that same sort of shock-art but were still convincing in their role as eclectic and different films. After Hairspray, Waters directed a Johnny Depp film called Cry-Baby which obtained a heavy cult following in later years. After that, many of his films completely abandoned the idea of shock.John Waters: This Filthy World was directed by Curb Your Enthusiasm star Jeff Garlin. The downside is neither of them are seen together, sitting down for an interview, during any time of the documentary. It would have been great to hear how Garlin was inspired by Waters work (he must've to propose and direct a documentary on his standup) and what he personally thinks of Waters. In that respect, the documentary is empty, but holds enough so it can equip a solid recommendation.At one point in the film, Waters states he wants "young people" to look up to him as a "filth elder" because he believes all younger people should have one. I wouldn't know a better name or a better person worthy of that title.Starring: John Waters. Directed by: Jeff Garlin.

"Why dost thou converse with that trunk of humours, that bolting-hutch of beastliness, that swollen parcel of dropsies, that huge bombard of sack, that stuffed cloakbag of guts, that roasted Manningtree ox with the pudding in his belly, that reverend vice, that grey iniquity, that father ruffian, that vanity in years?" Shakespeare was no stranger to vulgar elegance. He made an art form of obscenities. It pulled in those (from all classes) who simply wanted to be entertained. Says Waters, "To me, bad taste is what entertainment is all about." We don't always want to have our sensibilities elevated, our higher aspirations appreciated, and our refined tastes developed with dialectic. Calling a spade a spade might even help you avoid treading on it. We talk about the 'shit hitting the fan', but do we ever imagine what that would literally be like? John Waters makes us imagine.When you ask someone what they like, they will invariably also tell you what they don't like. We justify our taste by expressing selective intolerance. Some people can't stand films with subtitles. Others can't stand the pap of multiplex movies. Some people detest nudity, while others detest censorship. Having defined what we don't want, we sit there in unproductive silence going, "Entertain me!" It could be said that This Filthy World ("Isn't it beautiful?") ignores the list of don't-wants and entertains you anyway. His immaculate and freshly starched style, penetrating insight, wit and gentle but brutal honesty, provide a safety net for us to identify with, rather than running out of the cinema or feeling personally attacked.Filmed over two nights at the Harry De Jur Playhouse in New York City, the film provides Waters' insights on everything from the director's own childhood to his views on capital punishment, artistic censorship and why Dorothy was crazy to want to return to Kansas. He provides authoritative comment on his films (the most famous and critically acclaimed of which is still subject to the British censors' scissors), and delights us with his gourmet appreciation of all that is 'unmentionable'.This hour-and-a-half retrospective analysis comes at a time when the 'trash aesthetic' is almost institutionalised. No longer a purely underground force attacking mainstream tastemakers, philosophical Warhol, breast-infatuated Russ Meyer, anti-establishment Troma, and a whole gamut of psychotronic paracinema of 'bad taste' with Waters as its queenly king, is controversially taken seriously. Academic film courses include subjects such as horror and pornography. Waters has exhibited at the Andy Warhol Museum. (Warhol, of course, has long been a respected name in art circles.) Critics regard Waters' outrageous 'Pink Flamingos' highly, even if it is part of the trash aesthetic. Directors like Waters did more than pave the way for trash (in every sense of the word). They paved the way for the intellectual deployment of themes and techniques that break down barriers or entertain in new ways. The vulgarity of the vernacular, expertly translated into images, challenging our established feelings: the 'entertainment' value ensures a steady cohort of supporters.But we cannot judge a film-about-films on the strength of the films it refers to, or even entirely on the merits of its main protagonist. This Filthy World is not a John Waters film: it is a film of him performing a one-man stand-up show. Fortunately he is a charismatic entertainer. His camp sophistication encompasses a delicacy and charm when he discusses the most sordid of scenes. Immaculately groomed and attired, he looks and sounds the epitome of good taste. It is the actual content that you will find hilarious or offensive.The film does have some shortcomings. Waters is not primarily a stand-up comedian and his monologue, a steady torrent, could be better paced. He talks precisely and quickly, with good enunciation. But from a purely cinematic point of view, a mixed interview format could have brought more contrasts and made for easier viewing. Although not essential, This Filthy World is best appreciated if you have at least a passing acquaintance with his films, whether the old classics like Female Trouble (which has been re-classified by the BBFC, with previous cuts waived) and the landmark Pink Flamingos (which is only available with cuts in the UK), or his more mainstream offerings such as Hairspray (recently re-made by others), Serial Mom, or Cecil B. Demented.Even if you are new to the films of John Waters,it is hard not to tickled by his explanations of such strange practices as tea-bagging, or the more extreme practice of helicoptering. His creepily gross descriptions evoke shock and laughter in a way that most stand-up comedians today can only envy.Professor Susan Hayward has said, "Queer camp is about trashing stereotypes with flash and flounce and dress in excess. It is about ridiculing consumer passivity through deliberate vulgarity." Provocative, vulgar and refined all in one, this film is Waters own take on Waters.For John Waters fans, This Filthy World is essential viewing. As a commentary on his work, it should find a worthy future home as one of the Extra Features in a fully restored boxed-set of his classics.

John Waters did a one man show a year or two ago around the country. This film shows the whole show. Basically it's just Waters talking about good (and bad) taste, all his movies, his battles with the ratings board (over "Low Down Dirty Shame"), the actors he worked with, various sexual acts and his life in general. This movie is frequently hilarious and never boring...but not for everybody. The language is VERY raw and Waters doesn't shy away from anything (the comments about fisting got to me a little). This isn't for people who are easily offended but for those who love Waters and his films this is lots of fun. An 8--only because it IS a stage show and gets somewhat stagy a few times.