You Can't Stop the Beat: "Hairspray" Will Sweep You Up

It shames me to admit that my familiarity with the films of John Waters is not what it should be, but I know enough about his film "Hairspray" and about musical theatre to see how it could work well as a lavish if less cult-oriented Broadway extravaganza, which I also have not seen. Couple my inexperience with the material with my distrust of unimpressive director and studio tool Adam Shankman, and you might expect a disaster in the making.

But Shankman, a choreographer before taking the megaphone, may have finally found a project where he fits in and contributes, and it's a story about an outcast getting her chance to be a star. By eerie coincidence, or maybe not, it's also a project where other several faces stand out in ways we never got a glimpse of before.

Although cursed with too many tepid songs-for every showstopper like "You Can't Stop the Beat" there's a disorganized if upbeat mess of dueling voices-"Hairspray" hits an agreeable stride quickly enough and never lets the smiles slip from its audience's face, providing big laughs and cheery tunes.

It's not hard to pinpoint the source of the energy, either. A star is born in Nikki Blonsky in her debut role as Tracy Turnblad; brimming with charm and joy and, yes, beauty, she's a winner from the first flash of her exuberant smile, kind eyes and refusal to let her personality fall subservient to her figure. It's a shame that Tracy sort of gets lost in the final scene, which suffers from disorganized direction in a scene requiring somewhat more organized chaos; there comes a point in the film where things stop being about Tracy and start being about whoever the camera happens to look at.

If a star is born in Blonsky, a star may be reborn in Amanda Bynes, who for perhaps the first time in her career is given a chance to shine, giving lovable goofball Penny Pingleton a sexy sweetness while making the constant gimmick of sucking a lollipop into more than just a bit of decorative whimsy; Bynes' portrayal, you realize as her hair ornamentation swings about, requires a constant sugar rush. She doesn't get much to do insofar as plot is concerned, but never mind; Bynes understands that acting is about reacting, and every moment she is off at the sidelines, her eyes betray a fierce engagement with the scene even while working through the eyes of a dancing dimwit.

The effort and research John Travolta puts into reinventing the wheel of Edna Turnblad pays off spectacularly, as he elevates the role once painted as a drag queen to something that's not half woman and half man, but all woman, tempered only with a completely degendered Travolta. Paired with Christopher Walken, a "Best Screen Couple" award from some show or another is in the cards. (Walken's role is purely supporting, but at least one shot of him in this film will be guaranteed immortality in the form of repeated postings on Internet forums. It involves sunglasses.)

The scenery and cinematography creates an appropriately 'retro' palette to enjoy, a 1960s world of faded greens and chipper blues and fluffy pinks. It would have been nice to see the city of Baltimore, so important a part of Waters' own films, become more of a character in the picture, though perhaps Waters' unexpected and perfectly timed (not to mention cast) cameo is blessing enough from the source material.

The big screen is not a friendly climate for musicals these days, and it's a joy to find a refreshing, enjoyable song-and-dance show that works in front of the camera. While "Hairspray" will not be remembered as one of the great and important musicals, on film or stage, it makes for a peppy summer treat in the midst of too many ponderous epics that trip over their own feet. Its top-notch cast sees it through its rougher spots, and it's sure to lead to some big things from the young talent it showcases. If Tracy Turnblad can make her mark on 1960s Baltimore, can Nikki Blonsky taking over 21^st-century Hollywood be far behind?