There are few filmmakers more notorious thanJohn Waters, the sensationally shocking auteur of bad taste and singular vision. Whilehis early filmscast an unforgiving light on the people on the fringes of society in America, his work garnered the interest of Hollywood, giving him access to bigger stars and bigger budgets. From this partnership sprung the classicsCry-Baby,Serial Mom, andPecker, but beneath the polish of these lacquered visions remained Waters’ fascination with the obscene. As studio meddling began to take its toll, he struck out with one of his most absurd visions of comedy, filmmaking, and social commentary. The result is the hilarious, shocking, and ultimately ironic 2000 comedy/thrillerCecil B. Demented.
Any time art makes money anywhere in America, those with more money are bound to notice. They swoop in and offer to fund more art, send it out farther, and grow the audience, all for a share of the returns. When the artist then turns in this newly funded art, that product is often looked at with disdain and a pedantic “No, not like that!” This, it seems, is the nature of the industry and is likely what Waters experienced when he brought his vision to Hollywood. One can view his filmography and see something of a ripple effect in the timeline of his work — his early, self-funded films are schlock insanity, then his first forays into Hollywood such asHairsprayandCry-Babyseem relatively tame, then it all gets bigger, crazier, and hornier as he works throughPecker,Cecil B. Demented, and finally,A Dirty Shame. Then, in a chain reaction that could likely only occur in America, Waters' 1988 comedyHairsprayinspired a 2002 Broadway musical which inspired a 2007 Hollywood remake, and the whole thing becomes that much more incomprehensible.
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What Is ‘Cecil B. Demented’ About?
Cecil B Demented is the titular character of the film, played byStephen Dorff, most known at the time for playing the villainous Deacon Frost in the now-classic 1998 Marvel Entertainment production,Blade. Cecil is, of course, a pseudonym, chosen by Sinclair Stevens, a deranged cinematic visionary who endeavors to create a film free of the studio system and unencumbered by Hollywood’s need to make bankable products. He and his motley crew, the Sprocket Holes, lambast the tired trend ofconstant retreads, which is even more ubiquitous now, such asStar TrekorStarWar, sequels,remakes, or needless pictures propped up by rudderless personalities. Cecil is planning to make and release a zero-budget picture, and the only thing that he really needs is a big star to anchor the thing, which he finds in Honey Whitlock (Melanie Griffith).
“Finds,” in this case, is a euphemism for “violently kidnaps.” The efficiency and brutality with which the Sprocket Holes manage to steal Ms. Whitlock from a highly publicized lavish film premiere are admirable, and likely Waters’ commentary on the devious efficacy of Hollywood to lure bright young talent into its own nefarious web of contracts and multi-picture deals. Once she is brought into their lair, the Sprocket Holes introduce themselves one by one, each sporting a tattoo celebrating their favorite director. Names likePeckinpah,Lynch, andFassbindermake the list — an effective recreation of Waters’ own shortlist of influences and contemporaries. They explain their guerrilla style of filmmaking, their vision for the movie, and their vow of celibacy until the film is completed — “Celibate for celluloid” is their claim. While this seems like a random detail to include, one must recall that this is a John Waters picture, after all, and he is essentiallyloading Chekhov’s gun.
What Is the Meaning Behind ‘Cecil B. Demented’?
Cecil B. Demented, both the character and the film, has a vision. The character’s vision is a film that’s made in the most authentic style that turns a profit the moment the first ticket is sold. A film made with stolen equipment, stolen materials, stolen performances, and real terror. He offers prophetic quotes like “the first take is the truth” and “technique is just failed style.” He shoots haphazardly, yet demands complete conviction. He and his crew are dedicated to making his film, “Raving Beauty,” the definitive DIY movie that will topple the very idea of studio shackling. He shoots only one take, no coverage, and moves on to the next. He is efficient, ruthless, and willing to kill or die to make his vision true.
The vision ofCecil B. Dementedthe film is quite contrary. While it is evident that yes, Waters is dissatisfied with Hollywood retreads and atendency to produce work that is “safe,” the execution of his black comedy is actually quite zany and fun. The film is set in Baltimore, as all his works are, and while it is played as a villain itself, it is shot with the reverence of a native son. The opening montage presents dilapidated or shuttered theaters showing either a litany of uninspired crap or hosting anything other than film to keep the doors open, and though it plays out as sad and damning, it allows for beautiful shots of the city to establish his long love for Baltimore. The film’s many chase sequences often end up in a theater, most notably an action house hosting a kung fu marathon and a pornographic theater hosting a selection of films by one of the Sprocket Holes, Cherish (Alicia Witt). Each time, Cecil and his crew enlist the help of these niche genre appreciators in helping them fend off their pursuit by champions of Family film and Teamsters. Waters demonstrates again and again that what he wants from film is to have fun. Rather than burn the whole industry down, he’d rather drag it down to his level. It’s not an indictment that his viewers receive, but rather an invitation.
John Waters Is a Real Provocateur
Waters is having a blast blasting Hollywood, and no one watching the film can imagine that he’s doing anything else. There is no subtlety in his message; one needn’t be a film student to realize his message that studio notes are ruining film. What Waters is doing beneath the surface, though, is making a case for representation, inclusivity, and visibility. He has openly gay and non-binary characters, characters of color, and even a Satanist. While almost everything is played for a laugh, no character is marginalized at any point in the film. Everyone is respected and represented fully throughout. Waters isn’t one to stop the camera when someone whose voice is overlooked has something to say, which is what has garnered him a reputation as a provocateur. That, and, the unfiltered sex that permeates the final act of most of his films.
The irony comes into play when a spotlight is shone upon the cast of this 2000 disasterpiece.Michael Shannon, now a director himself, stars as Petie, the driver.Adrian Grenier, before his turn as Vincent Chase inEntourage, stars as Cecil’s lead actor, Lyle, a charming drug addict. The Satanist is makeup designer Raven, played with ecstatic delight byMaggie Gyllenhaal, before evenDonnie Darko. There’s a certain prescience to the cast Waters assembled for this skewering of the Hollywood Hit Factory, and this historical significance gives the film even more weight as a sendup of independent cinema. The film has been discussed as lambasting big Hollywood, which it does gleefully, but interestingly enough, it does this from the inside, with some of its biggest names and resources. As such, its depiction of independent film is one of irony and false flags — smaller studio films that scream out from the inside. While Cecil B. Demented is noForrest Gumpsequel, it’s certainly noDesperate Living, either. It is, however, a madcap good time that is incredibly fun to watch and appreciate.
