Polyester

Polyester is a 1981 satirical comedy film written and directed by John Waters, a renowned American filmmaker known for his campy style and irreverent humor. The film is often considered a cult classic and a quintessential representation of the American B-movie genre. Polyester tells the story of Francine Fishpaw (played by Divine), a homemaker and devoted wife, who seems content with her life despite being married to a pornographer, George (played by David Samuels). However, Francine's life begins to unravel when she discovers her husband's infidelity and the presence of his mistresses in their home. As Francine's life continues to deteriorate, she is further burdened by the antics of her two unruly children, Babette (played by Edith Massey) and Joey (played by Kevin St. George). Her mother, Mrs. Hallette Umgelter (played by Ruth Waldron), is an obnoxious and manipulative woman who frequently interferes in Francine's life, exasperating the already strained relationship between mother and daughter. Francine's reliance on her favorite brand of synthetic fabric finisher, "Velvetone" (a clever parody of a popular fabric finisher brand at the time), becomes a coping mechanism for her emotional distress. She also begins to indulge in over-the-top fashion statements, often accompanied by outrageous and flamboyant wigs. As she spirals deeper into her dependency and madness, her home life becomes increasingly chaotic. In an effort to alleviate her pain, Francine turns to the local Church of Scientology, where she discovers a peculiar form of "therapy" involving a "Smell-O-Vision" booth. The booth's promise of emotional clarity and relief through the activation of memories through the use of odors seems too alluring to resist. However, this foray into the "scientific" method only serves to further destabilize Francine's already fragile mental state. Meanwhile, Todd Tomorrow (played by Tab Hunter), a former pop star turned evangelical fundamentalist preacher, begins to make appearances in the neighborhood. This charismatic, androgynous figure, clad in an iconic jumpsuit, arrives with an unmistakable allure that seems to captivate everyone around him, including Francine. Despite being married, Todd harbors a deep affection for Francine, sensing an opportunity to save her from her miserable circumstances. The story escalates as Todd and Francine develop an inexplicable bond, one that transcends the conventional norms of relationships. Todd attempts to guide Francine towards redemption, but his efforts often backfire as their encounters degenerate into absurd, melodramatic, and at times, unsettling episodes. Throughout the film, Waters skillfully lampoons American popular culture, using satire to scrutinize the conventions governing relationships, fashion, and spirituality. Polyester offers biting social commentary, poking fun at societal expectations and the vacuosities of mainstream culture. By employing vibrant, over-the-top performances and colorful characters, Waters creates an unapologetic celebration of the bizarre, subverting any expectation of traditional social norms. Ultimately, John Waters crafts Polyester into an entertaining, eccentric masterpiece that critiques the social conformity of the time while offering poignant portrayals of humanity's fragility and desperation. In the end, Polyester stands as a testament to Waters' bold and uncompromising filmmaking style, serving as a cult classic for irreverent audiences who cherish the unique experience this film offers.