Think of it as the true story of Elvis Presley’s high-school days. Gosh, what a prick.
Cry-Baby (Johnny Depp), is the leader of the Drapes and a bad boy juvenile delinquent with a heart of gold who’s only sin is loving the wrong girl (Amy Locane). This love, however, is what gets in the way of the Drapes and the Squares, which automatically leads into tensions arising.
Writer/director John Waters makes some pretty wild movies. With Cry-Baby, he brings his odd appeal to the art and style of a 50’s musical, where times are lighter, lovelier, and simpler, even though, essentially, the stories were about gangs, illegal drag-racing, and diners.
Lots and lots of diners, I may add.
Welp, there goes the neighborhood!
What’s so funny about Waters’ direction here is that the whole film is one, big, giddy satire at those teen-idol movies of the 1950’s. You got the typical conventions you would expect from a movie of this genre: The bad-kids, leather jackets, greased-up hair, motorcycles, the stuck-up, rich kids, the good girl who wants to explore the wrong side of the tracks, a jailhouse, fancy cars, hip music (of the time), and parents that just never seem to understand and try too hard to be cool and “with it”. All of that cheesiness given a crazier edge here with Waters’ script and direction, and that’s where the whole fun of this movie comes from. There’s always a weird joke placed in this movie somewhere, and it takes a good half-hour to actually get used to what you’re watching and spot a lot of the goofs that Waters’ places in this flick.
In fact, that may have been a bit of my problem with this movie, as it’s a little too energetic and never really settles down. Maybe that’s a weak complaint to have for a musical, but it seems like a good portion of Cry-Baby may have been a bit too crazy to really enjoy and have as much of a ball with, if it had been tuned-down just a bit. Then again, it’s just another one of my weird nit-picks that I have with movies and it sort of went away as soon as those phenomenal and zany musical numbers would pop-up, and take all of my problems away.
The musical numbers here aren’t anything entirely special, other than the fact that they are a bunch of fun to watch and listen to, since they are all done with as much as hype and energy as the rest of the film is treated. Waters always finds a keen way in introducing these songs and although none of them are as terribly memorable as you may expect from a musical of this nature, you still will find yourself humming along to the tracks, long after the movies over. One of the most specific tracks I’m talking about is that“King Cry-Baby” song, that reminded me so much of Elvis Presley and the type of song he would sing to win a gal over, no matter who she was, or where she came from.
Did conjugals always exist?
Yeah, Elvis was the man and to watch Waters make a character that’s just like him in every which way, was neat, if an easy target.
Other than the infectious musical numbers, the other element of this movie that’s incredibly fun as well is the strange ensemble that Waters puts together. In the lead role as everybody’s favorite bad boy, is Johnny Depp as Cry-Baby. It wasn’t just one of Depp’s first starring roles in a major motion-picture, but it’s also one of the first roles where he tried to break-away from that teen-idol sensation look he was given after his stint on 21 Jump Street. It’s great to see Depp perform as a young cat and still display that perfect type of energy and charm that we all know and love him for today, and if anything, you got to give this guy credit for going out there and taking on a weird role like this, especially when you’ve just got off of one of TV’s hottest-shows. Depp’s performance is nothing remarkable, nothing memorable, and nothing really special once you think about, but you can tell from the first shot until that last one, that this guy had something that was made for Hollywood and damn, do I wish I was alive and well in 1990 to put money down on that idea.
Then, there’s the rest of the cast that could literally just be a names-name of people you may have infamously heard of, or thought that you would never, ever see work again in a major, Hollywood-production.
Kim McGuire gives us a memorable performance as the terribly-disgusting, Hatchet-face, and you got to give the girl credit for taking a role that pretty much makes fun of the way she looks the whole time; Iggy Pop is randomly here as Belvedere Rickettes, and has a wild bathtub scene even though I was a bit disappointed to not hear him sing once throughout the whole movie; ex-porn star Traci Lords plays a young whippersnapper of a gal that hates how uncool her parents are; Patty Hearst is randomly here playing a very bright and sunny mother that always seems to be happy about something; and the strangest, most memorable performance of all from the whole cast definitely goes out to Willem Dafoe as the evil prison-guard. What’s odd about the role is that you see his name in the opening-credits, yet, have no clue or idea of when he’s going to show up. And when he does show up, well, let’s just say it’s near-perfection. It’s a wonder why this guy has never really anything that could be considered comedy. There are plenty of other names in this whole flick that you’ll probably see and recognize but seriously, I’d have to write a whole book for that.
Consensus: Cry-Baby may be a tad too manic for its own good, but will occasionally break out a lovely, zany piece of music that’s worth watching and enjoying, even if the targets are easy enough to scoff at on your own.
7.5 / 10
The perfect American couple, courtesy of John Waters.
Photos Courtesy of: Indiewire, I Love Hotdogs, Challenges