In Bad Taste

In Bad Taste is a documentary film that offers an intimate and often irreverent look at the life and career of filmmaker John Waters. Released in 1987, this insightful exploration of the artist and his work has become a cult classic, not only among Waters aficionados but also among cinephiles interested in the avant-garde and underground film movements of the 1970s and 1980s. The film, written and directed by Peytif P. O'Neil and Jeff Kreines, is a comprehensive and deeply personal portrait of John Waters, an American filmmaker renowned for his provocative, campy, and often outrageous movies that blend elements of horror, comedy, and social commentary. The documentary focuses on Waters' formative years, his early experiments with film, and his rise to prominence as a leading figure in the underground film scene. Through extensive interviews with Waters himself, as well as with his close friends and collaborators, including fellow film-maker and friend George Kuchar, actor and drag queen Divine, and Waters' longtime partner and co-writer David Herskovits, the documentary sheds light on the development of Waters' unique aesthetic and his approach to storytelling. The film also offers a poignant and moving tribute to Divine, the iconic actor who appeared in many of Waters' films, including the notorious Pink Flamingos and Hairspray. Divine was an actor, singer, and drag performer who became inextricably linked with Waters' oeuvre. Born George Kugel, Divine was a self-taught artist who developed an extraordinary range of on-screen personas, from innocent ingénue to grotesque, over-the-top villain. His association with Waters helped propel the actor into international prominence, and their collaborations have become a defining aspect of American underground cinema. Throughout the documentary, Waters provides candid insights into his creative process, discussing the inspirations behind his films, including his early fascination with exploitation movies, B-movies, and low-budget horror films. He also shares stories about the making of his most famous films, revealing the often chaotic and resourceful ways he managed to assemble cast and crew, and the challenges he faced in securing financing for his projects. One of the strengths of In Bad Taste is its ability to convey the sense of community and camaraderie that exists within the underground film world. Waters, Kuchar, and Herskovits are presented as a tight-knit group of artists who supported and enabled each other's work, often under incredibly difficult circumstances. The film also highlights the importance of the Baltimore film scene, where Waters and many of his collaborators got their start. The documentary is not without its lighter moments, however. Waters is often hilarious, regaling audiences with tales of his childhood, his earliest forays into filmmaking, and the eccentric characters that populate his life and work. Divine, too, is a revelation, emerging as a complex and multifaceted artist whose range and vulnerability have not been adequately acknowledged in many accounts of his too-soon passing. The cinematography in In Bad Taste is similarly inventive and playful, employing a range of techniques to evoke the world of underground cinema. The film's use of grainy, handheld footage and faded stills from Waters' own films adds to its sense of nostalgia and period flavor, while its bold color palette helps bring to life the outlandish characters and sets that populate the filmmaker's world. While the documentary may have some inherent biases – Waters' own voice and vision are the primary drivers of the narrative – In Bad Taste is ultimately a testament to the power of filmmaking as an art form. It is a reminder that cinema can be used to challenge and subvert conventions, to express marginalized points of view, and to bring together communities of artists and activists in a common pursuit of creativity and self-expression. By offering a comprehensive and deeply personal portrait of John Waters and his world, the documentary encourages viewers to engage with his work on their own terms, to see beyond the surface-level camp and outrageousness and to appreciate the artist's innovative spirit and his boundless capacity for creativity.