If I had to sum up Cry-Baby in a sentence for someone, I would say that it is the wet dream of John Waters. Not since Kenneth Anger has there ever been someone who plays on the homoeroticism of hairless leather-daddies and rockabilly culture with such style. The movie also has what I would consider to be a dream cast for Waters, with Johnny Depp leading the pack. There's also his late muse, Ricki Lake, and small performances by Iggy Pop, Mink Stole, Joe Dallesandro, and a cameo by Willem Dafoe. To boot, the soundtrack is also outrageously good, featuring some of my favorite doo-wop, rockabilly, and psychobilly songs.

To compare this gem with other greaser vs. socs movies would be placing an emphasis on the more typical parts of the story; a nice town in 1950s suburbia is split in two, with its elite on one side and the trailer-trash on the other. But you have to remember that this is not The Outsiders or Grease, nor a jailhouse/Elvis flick. In fact, it's a parody of such movies. Waters takes the road-rebel genre and turns it into an opportunity to direct an over-the-top musical about teenagers and star-crossed love. The result is a story about a young man named Wade “Cry-Baby” Walker (Johnny Depp), a juvenile delinquent who prides himself on the ability to shed a single tear when confronted by his emotions. Behind him, sporting leather jackets with his name on the back, is his gang, referred to by the town as “drapes.” Perhaps the name comes from the emotional curtain of hair that keeps half of their faces in shadow. There's his plump and pregnant sister, Pepper (Ricki Lake); the fiery Wanda (Traci Lords); and the oddest couple to ever hit the screen, Milton (Darren E. Burrows) and his gal, Hatchet-Face (Kim McGuire). Their rivals on the playground are the suburban “squares,” and like other movies with the same theme, these characters are given little screen time and are presented as the enemy. The starlet among them is Allison (Amy Locane), a blonde who's seen as the most talented and beautiful among the rich. Allison and Cry-Baby lock eyes while getting a polio shot in the gymnasium. The sight of her makes him shed a tear, and the rest is history.

The evolution of the road-rebel is brought to the screen in this directorial debut from Kathryn Bigelow (Near Dark, The Hurt Locker). Technically, this is the film that also introduces Willem Dafoe and has him as the star amongst an unusual '80s cast. I say unusual because you have a blend of actors who've made a decent name for themselves by '82 and ones who definitely show promise in the film, and yet this was their only role. Some were from Georgia, where the film is set, so I guess it makes sense that, for the film's simplicity, actors who normally would have been extras were used for key roles. What satisfied me the most about this film was (a) being aware that a woman directed/wrote it, and (b) it has a slow plot that forces you to stop looking for action and absorb all the messages and scarce dialogue within it.

Wordless imagery, saturated colors, avant-garde, myth-ridden – a few of a handful of terms to describe Kenneth Anger’s short films. His work is dazzling, surreal, and certainly a hallmark that pioneered the very language of music videos.

Prior to this UCLA Film Archive high definition digital transfer, these early films of Anger were difficult to view. This collection of work is only a part of his work; several others can be found in Volume II. Here, we have his early works, Fireworks, Puce Moment, Rabbit’s Moon, Eaux d’Artifice, and Inauguration of the Pleasure Dome, each savory in magical moments, imagination, rituals, and pop-song splendor.