Not having seen the off-Broadway version of "Hedwig and the Angry Inch," I can only judge it as a movie (and after hearing long, hagiographic interviews with star/director John Cameron Mitchell using his opposite whispery persona on radio shows).
It works as a rock musical through the cute conceit of the songs being part of "Hedwig's" cross-country stalking tour of her sweet-faced young protégé, though the raucous songs have too much similarity, relieved by the change-of-tempo ballads.
As another celebration of drag queens and/or transsexuals who use the exaggerated female image as minstrel shows use black-face caricatures, "Hedwig" doesn't reach the heights of "The Adventures of Priscilla: Queen of the Desert" in understanding a real person under the wigs, as the set-up here is intentionally more campy.
Just as I got tired of the gimmicks, the movie finally fulfilled itself as the self-realization of a gay man (and his reverse image partner) and became more human. Consequently I didn't buy the didactic we're all one sex theme, even as charmingly demonstrated through the interstitial back-story explanation animation by Emily Hubley.
"Hedwig" uses similar editing techniques and tone as Ken Russell's "Tommy," achieved with a lot smaller budget and less cinematography quality.
(originally written 7/27/2001)
It works as a rock musical through the cute conceit of the songs being part of "Hedwig's" cross-country stalking tour of her sweet-faced young protégé, though the raucous songs have too much similarity, relieved by the change-of-tempo ballads.
As another celebration of drag queens and/or transsexuals who use the exaggerated female image as minstrel shows use black-face caricatures, "Hedwig" doesn't reach the heights of "The Adventures of Priscilla: Queen of the Desert" in understanding a real person under the wigs, as the set-up here is intentionally more campy.
Just as I got tired of the gimmicks, the movie finally fulfilled itself as the self-realization of a gay man (and his reverse image partner) and became more human. Consequently I didn't buy the didactic we're all one sex theme, even as charmingly demonstrated through the interstitial back-story explanation animation by Emily Hubley.
"Hedwig" uses similar editing techniques and tone as Ken Russell's "Tommy," achieved with a lot smaller budget and less cinematography quality.
(originally written 7/27/2001)