John Waters’ worlds have a knack for accepting a person’s eccentricities no matter how severe or deranged. He creates characters that break nearly every societal convention on every conceivable level and yet, in his worldbuilding, it’s generally overlooked as being different or weird. It either blends into the background or is made to be so outrageously front-and-center.
In Serial Mom, John Waters’ 1994 suburban satire, Beverly (Kathleen Turner), a perfect white picket fence Mom, turns to rampant vigilantism in the form of serial murder. A crime suspected by her whole family and gracefully slid under the table. Waters put together a great cast for Beverly’s family. Sam Waterson as the father Euegene, Matthew Lilliard as the son and Waters regular ensemble piece Ricki Lake as the daughter. The four form an unhinged family dynamic where Bev’s spree is largely viewed nonchalantly.
Outside Serial Mom, Waters’ crafted many stories around the beyond brilliant Divine. If Toshiro Mifune is Akira Kurosawa’s sidekick, Divine holds similar stature to John Waters’ filmography. Female Trouble (1970) and Pink Flamingo (1972) are other examples of a character’s grotesque traits that are a prominent part of what motivates the character. Similar to Serial Mom, those films fully embrace their filth – Pink Flamingo goes as far as to compete for the filthiest. Waters’ world building is unorthodox but often positive and upbeat.
I liked John, and what I came to learn about John is he’s honest to God one of the kindest people I have ever met. Yeah, he’ll dig an elbow into you when he sees a weak spot or a sore point, but if he sees that he’s actually hurt you, he’ll back off and apologize. Think about it. His great strengths have been taking truly unattractive people and making you care about them, and I just think that’s admirable.” (Variety interview with Kathleen Turner)
Back to Kathleen Turner, she’s devilishly good as a psychopath addicted to vigilantism in the form of serial murder. A horror character in a satirical, friendly place. Many laughs (per minute) and in the concept alone. The formalistic, highly irregular approach of Waters’ could only make this story work. Nice pairing of director, story, and leading lady.
The diabolical grin of Kathleen Turner gives way to moments of chaos followed by domestic bliss. The split personality of Beverly and unacceptance of any misgivings. Wearing white after Labor Day? Get fucked. The end of her journey ends in a courtroom and she manages to weasel her way out of it before murdering a woman in the bathroom minutes after a not guilty verdict. Animalistic addiction to murder, as it’s clearly a kink for her as she turns her bedroom into a jungle gym after kills.
The family and world react according to Waters’ whimsical personality as does the audience that isn’t given a character to cheer for in this scenario. Beverly isn’t deserving of sympathy, but her derangement is on par with any leading lady in a Waters film. From prank calling Mink Stole, to murdering someone for the sake of humanity being annoyed with them, she fights for humanity. Lilliard sees her as a true horror monster and watches her killing spree as a piece of entertainment. As far as great John Waters films go, Serial Mom will serve as one of my favorites.\
And John Waters got to play Ted Bundy…
Weird Cinema 