As a devoted follower of the “Pope of Trash,” John Waters, my anticipation for his 2004 film, A Dirty Shame, was immense. Fresh out of film school, I eagerly sought out a cinema in London daring enough to screen it. However, a newspaper review cast a shadow of doubt, warning long-time fans of a “rude awakening,” labeling Waters’ latest work as “appalling.” Dismissing it as mere opinion, I went in with high expectations. Sadly, the reviewer was right. It was a cinematic experience that felt like, well, a dirty shame. For a director whose work I usually adore, this felt like a major misstep, genuinely embarrassing to watch.
Twenty years on, a 50-pence DVD in a charity shop offered a chance for reconsideration. The Director’s Commentary special feature was tempting, even if the film remained a dud. Perhaps, like some controversial art, A Dirty Shame had aged gracefully and deserved a place in Waters’ otherwise (mostly!) impeccable filmography. I bought it, ready to give it another go.
A Dirty Shame centers on Sylvia Stickles (Tracey Ullman), initially presented as a sexually repressed woman horrified by her neighbor’s “debauchery.” A head injury transforms her into a sex addict, introducing her to a community led by Ray Ray (Chris Isaak), comprised of fellow concussion-induced sex fiends. The film then descends into a chaotic clash between these newly awakened “perverts” and the prudish “neuters.”
Tracey Ullman as Sylvia Stickles in John Waters' A Dirty Shame, portraying a shocked expression before her sexual awakening in the film.
So, did my second viewing change my mind about A Dirty Shame? In short, absolutely! I found it surprisingly irreverent, even for John Waters, outrageously over-the-top, and genuinely hilarious.
Rediscovering the Irreverence of John Waters in A Dirty Shame
Waters has always reveled in the perverse, showcasing unconventional sexual acts from shrimping in Pink Flamingos to the infamous rosary beads scene in Multiple Maniacs. A Dirty Shame doubles down on this, presenting a lexicon of bizarre sexual practices, from “spolshing” to “frottage” to an attraction to dirt itself. Waters gleefully throws these into the mix, pushing boundaries as only he can.
A Stellar Cast Embraces the Absurdity
One of the joys of revisiting A Dirty Shame is seeing fresh faces alongside Waters’ regular “Dreamlanders.” Tracey Ullman, Johnny Knoxville, Chris Isaak, and Suzanne Shepherd join Mink Stole, Patricia Hearst, and Channing Wilroy, with the entire ensemble attacking the material with infectious enthusiasm. This blend of new and familiar faces injects fresh energy into Waters’ signature style.
Johnny Knoxville and Chris Isaak in John Waters' A Dirty Shame, depicting Ray Ray and his follower in a scene about sexual liberation.
Selma Blair, as Ursula Udders, the go-go dancing, surgically enhanced sex addict, deserves particular praise. Her performance is reminiscent of the larger-than-life Eurotrash icon, Lolo Ferrari, adding another layer of camp and outrageousness to the film.
Selma Blair as Ursula Udders in A Dirty Shame, highlighting her character's exaggerated features and provocative go-go dancing persona.
Adding to the film’s surreal charm, David Hasselhoff even makes a cameo appearance, further solidifying its place in the realm of bizarre and wonderful cinema.
David Hasselhoff's cameo in John Waters' A Dirty Shame, showing him in a humorous, unexpected appearance in the film.
Unforgettable Dialogue and Social Commentary
True to form, A Dirty Shame boasts outrageously quotable dialogue. Lines like “Believe me, I’m not a prude. I’m married to an Italian,” “I’m sorry I was nasty about your vagina yesterday,” and “Feel like yodelling in the canyon?!” are pure John Waters gold, showcasing his unique brand of humor and social observation.
Beyond the shock value, the film also delivers surprisingly sharp social commentary. Waters skewers both ends of the societal spectrum: the sexually repressed conservatives and the condescendingly “open-minded” liberals. His satire even touches upon the performative nature of diversity, a theme that resonates even more strongly today. This satirical edge elevates A Dirty Shame beyond mere shock comedy.
Promotional image for John Waters' A Dirty Shame, featuring a beaver character and highlighting the film's provocative and comedic nature.
Final Verdict: A Reappraisal of A Dirty Shame
Is A Dirty Shame truly as terrible as its initial reputation suggests? Absolutely not. My initial dislike now seems like a misjudgment, perhaps influenced by a bad day or overly swayed by a negative review. While it might not rank among Waters’ absolute masterpieces, A Dirty Shame is a wild, hilarious, and undeniably John Waters film. It deserves its place in his filmography as a testament to his enduring commitment to pushing boundaries and challenging societal norms with gleeful abandon. It’s a film ripe for reappraisal and rediscovery by both long-time fans and newcomers to the wonderfully weird world of John Waters.
