Hedwig is an outstanding movie - compelling, rugged, sensitive, in-your-face, and full of committed energy from cast and crew. I used to think that Cabaret was the best musical made, and love the high camp-glam of Rocky Horror. But Hedwig edges these movies in my opinion.
James Cameron Mitchell imbues Hedwig with dignity, bluster, bravura and credibility. It is an inspired performance, with riveting songs. (I stayed to the very end of the credits, breaking out into song. Bear in mind that South Africans have not had access to the stage play.)
This film is more original and more daring than the other 2001 contender for 'redefining' the musical, Moulin Rouge. Maybe this is because the main characters are 'filled' in so well, in terms of music/lyrics, others' reactions to them, and by incredibly clear characterising. Hedwig, though over the top, is a cross between Sally Bowles and Frank-'n-Furter. Roll on Sing-along Hedwig!!
The story is quite simple - Hedwig has an angry inch (from a botched sex-change). Hedwig is angry, too, because s/he is searching for a sense of self, for the 'other' (that song 'Origin of Love' is mythical rock which works). James Cameron Mitchell is good as both Hansel (his male persona) and Hedwig; his search for Tommy Gnossis - his creation, his 'Rocky' ? - and ultimate reconciliation are moving.
The end scene is magnificent as Hedwig transforms into Hansel, all male, totally male, while Hedwig is lifted up into the audience. At this point it seems that the film was saying many things about love, about identity, about relating.
A stunning film - and, being a novice to Hedwig (like a Rocky Horror virgin) I thought Miriam Shor was a foreign name for an interesting support actor. Imagine my delight (and mortification) when I realise that 'he' is a woman!
The illusion continues.
See this film; I agree with the reviewer who calls it 'Kick Ass'. For me it is one of the most compelling and interesting films of 2001.
10/10
James Cameron Mitchell imbues Hedwig with dignity, bluster, bravura and credibility. It is an inspired performance, with riveting songs. (I stayed to the very end of the credits, breaking out into song. Bear in mind that South Africans have not had access to the stage play.)
This film is more original and more daring than the other 2001 contender for 'redefining' the musical, Moulin Rouge. Maybe this is because the main characters are 'filled' in so well, in terms of music/lyrics, others' reactions to them, and by incredibly clear characterising. Hedwig, though over the top, is a cross between Sally Bowles and Frank-'n-Furter. Roll on Sing-along Hedwig!!
The story is quite simple - Hedwig has an angry inch (from a botched sex-change). Hedwig is angry, too, because s/he is searching for a sense of self, for the 'other' (that song 'Origin of Love' is mythical rock which works). James Cameron Mitchell is good as both Hansel (his male persona) and Hedwig; his search for Tommy Gnossis - his creation, his 'Rocky' ? - and ultimate reconciliation are moving.
The end scene is magnificent as Hedwig transforms into Hansel, all male, totally male, while Hedwig is lifted up into the audience. At this point it seems that the film was saying many things about love, about identity, about relating.
A stunning film - and, being a novice to Hedwig (like a Rocky Horror virgin) I thought Miriam Shor was a foreign name for an interesting support actor. Imagine my delight (and mortification) when I realise that 'he' is a woman!
The illusion continues.
See this film; I agree with the reviewer who calls it 'Kick Ass'. For me it is one of the most compelling and interesting films of 2001.
10/10