By John Waters
John Waters is placing his lifestyles at the line. Armed with wit, a pencil-thin mustache, and a cardboard signal that reads 'I'm now not Psycho', he hitchhikes throughout the United States from Baltimore to San Francisco, braving lonely roads and treacherous drivers. yet who should still we be extra frightened approximately, the fragile movie director with genteel manners or the unsuspecting tourists transporting the Pope of Trash?
Along the best way, Waters fantasises concerning the most sensible and worst attainable eventualities: a pleasant drug broker arms over piles of money to finance movies without questions requested, a demolition-derby driving force makes a grimy sexual request in the course of a race, a gun-toting under the influence of alcohol terrorizes and holds him hostage, and a Kansas vice squad entraps and throws him in detention center. So what rather occurs while this cult legend stands out his thumb and faces the open road?
Laced with subversive humour and hot intelligence, Carsick is an unforgettable holiday with a wickedly humorous spouse - and a party of America's bizarre, astounding, and beneficiant voters.
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Extra resources for Carsick: John Waters Hitchhikes Across America
The specter of spinsterhood for a 31-year-old unmarried woman may play a part in her decision by the end to allow Dodge to be a little more familiar. Overheard dialogue is a further part of screwball, but apart from the humor of Dodge walking out of shot and then popping back, his reaction to hearing Lexie’s plan is a little strange. He confesses while they are in the cabin that he knows what he she is up to but does not warn Carter, a fellow sportsman, apparently a reasonably decent fellow and hardly deserving of Lexie’s scheming.
The appearance of Dodge with red lipstick prominently on his face is the kind of cross-dressing element impossible in black-and-white, but it is really just a comedic ploy, undercutting his protestations of innocence. However, again, matters of a more intimate nature are interrupted, again by physical comedy as Carter puts his arm too close to a nearby candle and his sleeve catches fire (visible as Carter raises his flaming arm into the frame). Despite Lexie’s protestations to the contrary, she is used as the bait in a honey trap to make Carter open up and tell the truth about the war.
Lines of dialogue like Melanie’s “That’s a totally ex-husband thing to do” countered by Jack’s “Well, you would know because that’s a totally ex-wife reaction,” clearly echo one another but never reach the wit or even fun in language taken by Walter Burns (Cary Grant) and Hildy Johnson (Rosalind Russell) in His Girl Friday (Howard Hawks, 1940) or other screwball comedies, which this film dimly resembles. Initially, Sammy and Maggie echo their parents’ animosity, pulling faces at each other in the taxi, but predictably over the course of the film they act as catalysts to bring them together.