Pink Flamingos
A dilapidated trailer home in the wooded outskirts of Phoenix, Maryland, the unkempt lawn decorated with pink flamingos, the easily dismissed appearance misleading as it is occupied by the notorious criminal Divine, her mother Edie, son Crackers and their friend Cotton. Living under the pseudonym “Babs Johnson,” Divine has an ambition which itches and burns, to be known as “the filthiest person alive,” and it is no idle boast.
And yet even in such a small community she has competition as fierce as the dyed hair of her rivals, Connie and Raymond Marble dabbling in pornography, hard drugs for schoolchildren and black market babies for lesbian couples, supplied by the women held hostage in their basement and impregnated by their servant Channing. Using subterfuge to track “Babs Johnson” to her ramshackle home the Marbles drop their challenge and it is accepted with a cry of outraged fury.
The third feature from John Waters who wrote, produced, directed, shot and edited the micro-budget film, it was Pink Flamingos which brought his particular brand of caustic, unapologetic kitsch Americana to a wider audience, initially opening to a small local market in early 1972 but eventually picked up by New Line Cinema and distributed nationwide, laying the ground for all that followed, Polyester, Hairspray, Serial Mom, Cecil B Demented eventually seeing him courting the fringe of mainstream acceptance but always on his own terms, the uncompromising “pope of trash.”
Looser and less finished than Female Trouble which followed two years later, Pink Flamingos sets out to shock and awe, no quirk, kink or depravity unexplored and possibly inventing a few new ones along the way, a car-crash of inexcusable behaviour which has not settled into complacent middle-age as it celebrates its fiftieth anniversary with a new edition from the Criterion Collection featuring a 4K digital restoration supervised by Waters, presented in all its tawdry glory which earned it a place in the United States National Film Registry.
So raw it is painful, Pink Flamingos is constantly and deliberately transgressive and offensive, but beneath the shenanigans there is tragedy; we look and laugh, often uncomfortably, but while the stereotypes are undeniably exaggerated there are people who live in this crushing, soul-destroying poverty which leaves them open to exploitation, not just for ninety minutes but for their whole lives, looking for a way out as we look in through their dirty windows and gawk at their desperate living. Crucially, while Waters exhibits he never mocks or shames: these are his kin and he cherishes them.
Pink Flamingos not recommended for those who prefer entertainment to affirm rather than challenge their complacency, there can be no doubting the dedication of the ensemble which includes Waters regulars Mink Stole, David Lochary and Edie Massey, the comprehensive accompanying documentary Divine Trash confirming their devotion and that “John could make you do anything,” while additional special features include two audio commentaries, a tour of the Baltimore locations and deleted scenes, if you dare.
Pink Flamingos will be available from Criterion from Monday 25th July
