`Hairspray` ignites `60s nostaglia, higher than a beehive

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TUESDAY
LIVING 8
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‘Hairspray’ ignites ’60s nostaglia, higher than a beehive
W
HEN JOHN
“King of Camp”
Waters directed
“Hairspray” in
1988, I was entertained. Then in 2002, the
musical version hit Broadway,
and I am still belting out the
tunes. Now, with the movie musical bringing ’60s flair to theaters Friday, I have become a
neurotic fan of the franchise.
The movie tells the tale of
Tracy Turnblad (Nikki
Blonsky), a full-figured girl who
craves the spotlight on the
“American Bandstand”-esque
“Corny Collins Show.” But in an
era when diversity is not embraced, the road to her dreams
is full of discrimination — not
to mention fun dancing,
comedy, catchy tunes and fabulous ’60s style.
After a screening of the vibrant movie extravaganza, I
chatted with star-in-the-making
Blonsky and director/choreographer Adam Shankman.
Still humming the closing
number of the movie, I am
greeted by Long Island-native
Blonsky at the St. Regis Hotel in
San Francisco.
After confessing my adoration for the movie, she squeals
with delight and says, “Hearing
that makes me go amazingly insane!”
Blonsky’s hair is relaxed
Dino-Ray Ramos
DRESSED
dramos@angnewspapers.com
with bohemian charm, the opposite of Tracy’s towering bouffant. It made me wonder how
much of that hair was hers in
the movie.
“None of it,” confesses
Blonsky. “We had to use a wig
because I was doing so much
dancing and I was sweating so
much. If we used my real hair
we would have just teased it,
and it would have deflated.”
Shankman scurries into the
interview full of energy. I expected him to give me some jazz
hands, but I get a handshake instead. After we laugh about his
mistaking my recorder for his
cell phone, we resume our powwow about hair in the movie.
“We wanted a deeper, emotional reality,” Shankman says.
“I wanted people to be able to
follow Tracy’s story, but we
couldn’t go as broad as the
projects before us. I wanted to
SPRAY-ON STYLE: Once an ice
cream scooper at Cold Stone
Creamery, actress Nikki
Blonsky gets her big break
as the fabulously curvy Tracy
Turnblad in “Hairspray.”
make sure Tracy’s hair was
high, but not too high.”
Shankman and hair designer
Judi Cooper-Sealy consulted
vintage magazines to create distinct looks for each character.
Tracy’s ditzy sidekick, Penny
Pingleton (Amanda Bynes),
shows her innocence with
spooling ribbon-like pigtails,
while teen diva Amber Von
Tussle (Brittany Snow) has taut
hair to indicate her uptight and
pristine ways.
Of course, everyone is
talking about John Travolta’s
transformation as Tracy’s
mother, Edna. In full-out drag,
Travolta prances around as an
amplified version of Tracy, hair
and all.
For other actors, iconic celebs were used as templates.
With Amber’s villainous
mother, Velma (Michelle
Pfeiffer), Shankman wanted a
“stuck in the past” late-’50s
Marilyn Monroe. Tracy’s love
interest Link Larkin (Tiger Beat
pinup boy Zac Efron) emulates
Elvis (the years before he let
himself go), and James Marsden as Corny Collins embodies
young Dick Clark.
This is all fun, but the designers did occasionally go
overboard.
“For Queen Latifah, we had a
wig for her screen test that was
4 feet high — it was ridiculous!”
Shankman says with a laugh.
“Her head and hair didn’t fit
onto the screen.”
With all this hair flying
around, you’d think they used
tons of hairspray to keep things
intact. Shankman and Blonsky
admit that those cans of Ultra
Clutch hairspray were just mere
props.
“I was using canned smoke
in the opening scene because we
needed that smoky effect,”
Blonsky says.
“In the song ‘It’s Hairspray,’
we used cans of Arrid Extra
Dry,” Shankman says. “After
each take, everyone was covered
in blue powder. It smelled like
an overactive armpit on the set.
It was horrible!”
Shankman also worked with
costume designer Rita Ryack to
create some of the film’s ’60s
looks, which are surprisingly in
vogue right now (can you say
skinny ties?).
“Everybody’s costumes were
incredible!” gushes Blonsky.
“One of the most exciting things
was being in a matching dress
with John Travolta.”
“Amanda (Bynes) was the
only one upset with her costumes,” says Shankman. “She
always wanted them to be a
little bit tighter, but at the end
of the movie, when she finally
got a tighter outfit, she couldn’t
even move.”
As we talk fashion, Blonsky
looks down at my pointy-toed
shoes and says, “I like your
shoes. They get right to the
point!”
She definitely has great taste
— and it also shows in her appreciation for the movie’s costuming.
“My favorite dress I wore in
the movie has got to be the
checkered dress,” Blonsky says.
“I wanted her to look Mon-
drian,” Shankman says. “I
wanted it to look like the future
— where time was going.”
The Nancy Sinatra-inspired
sack dress used in the film’s finale is paired with white fishnets and go-go boots. It is
definitely an outfit to look for.
Shankman adds that he
loved all the sharkskin suits —
especially the shiny copper one
Seaweed (Elijah Kelley) wears
on the movie poster.
Blonsky sees “Hairspray” as
inspiration for underdog kids to
follow their dreams, but she
says she also hopes it will reach
the fashion communities as
well.
“I hope it will make these
high-end designers that are
making dresses for these stick
figures say, ‘Let’s add more
fabric to this for a plus-size
girl,’ ” Blonsky says. “I want to
be wearing things from Prada
and Marc Jacobs.”
Don’t worry, Nikki. With this
movie on your resume, I am
sure they’ll be more than willing
to make you some couture.
You can reach Dino-Ray Ramos
at dramos@angnewspapers.com or
call (925) 416-4856. Read more of
the interview and other “Hairspray”
hairdos and fashions at www.insidebayarea.com/fashion.