Anonymous asked in Entertainment & MusicMovies · 1 decade ago

movie question: is the new or old hairspray movie better?

im watching the old movie right now of hairspray. if anyones seen the new and old please give me your oppinion.

-please and thanks.

8 Answers

  • Anonymous
    1 decade ago
    Favorite Answer

    i saw both definitely the new one, the first one isn't like funny and doesn't really have any information. Hairspray just was about the 60's and everybody was so tiering. Hairspray the second was like Baltimore, 1962: Plump teenager Tracy Turnblad (Nikki Blonsky) sings (Good Morning Baltimore) on her way to school.

    Later, after school, she and her best friend Penny Pingleton (Amanda Bynes) rush home to watch The Corny Collins Show hosted by Corny Collins (James Marsden) (The Nicest Kids in Town). Tracy's mother Edna (John Travolta) tells them to turn down the volume because she's ironing. Then Penny's strict and religious mother Prudy (Allison Janney) arrives to pick up her laundry and drags Penny out of the house.

    After school the next day, Tracy and Penny watch the show outside of a TV shop window, while Link (Zac Efron) sings the song that the other stars are dancing to (It Takes Two). Tracy exclaims that he should be dating her, rather than Amber (Brittany Snow), as she's a much better dancer. Link then says to cut school to come and audition because one of their council members, Brenda, is leaving the show (When asked for how long, she says only for nine months). Edna does not allow Tracy to attend the auditions because she doesn't want her daughter to get hurt from criticism from others. Tracy's father, Wilbur (Christopher Walken) encourages her, saying, "Go for it! You gotta think big to be big!" The next day Tracy and Penny go to station WYZT and find station manager Velma von Tussle (Michelle Pfeiffer) preparing the council members for the auditions while re-living her pageant days (The Legend of Miss Baltimore Crabs). Tracy is rejected after she is asked, "Would you swim in an integrated pool?" to which she replies, "I sure would! I'm all for integration! It's the new frontier." She then walks to school late because of the audition. Her teacher told her, "I trust it was something really important." Tracy mutters, "It should have been."

    Tracey is then sent to detention for cutting/lateness to class. When Tracy arrives in detention she meets Seaweed J. Stubbs (Elijah Kelley) and learns a dance called "Peyton Place After Midnight". Link sees Tracy dancing in detention, tells her about the Corny Collins Record Hop, and bumps into her causing Tracy to burst into song (I Can Hear the Bells) which only Penny can hear as she dances her way through the school. The next afternoon, Tracy does the "Peyton Place" dance at the Record Hop as Link sings (Ladies' Choice) and Corny watches.

    Later, after Corny puts Tracy on the show, Penny races to the Turnblad's home and shows Edna and Wilbur their daughter as a regular on "The Corny Collins Show". Later, Amber and two council members, Shelley (Sarah Jayne Jensen) and Tammy (Hayley Podschun) sing a song (The New Girl in Town). Later, on the show's ***** Day the trio, The Dynamites do the song also. Velma threatens Motormouth Maybelle (Queen Latifah) for using the same song, but Motormouth points out to Velma that they originally wrote it. Later that evening, Edna is telephoned by Mr. Pinky (Jerry Stiller) saying that he wants Tracy to be his spokesgirl for his store "Mr. Pinky's Hefty Hideaway", a clothing store for plus-size women. Edna is reluctant to go, but ends up getting a makeover with Tracy (Welcome to the '60s). Soon after, Edna and Tracy are taunted by Velma and Amber at a local restaurant. When Velma says, "You'll stop traffic" to Edna, Edna wants to return the clothes, but Tracy convinces her out of it.

    Edna (John Travolta) and Tracy (Nikki Blonsky) during the musical number "Welcome to the 60s"The next day, everybody wants detention to see Tracy. But Tracy ends up going to detention again because Amber, in the same class, told their teacher that Tracy said that he had breasts. As Tracy begins to head out Link stands up. The teacher asks Link if he would also like to go to detention. He doesn't answer. The teacher then asks Link if he knew the last words of Patrick Henry. Link replies, "Kiss my ***," earning himself a trip to the detention room. Seaweed leads Link, Tracy, and Penny out of the school in song (Run and Tell That) to a platter party at his mother Motormouth Maybelle's record shop. Amber, impersonating a man named "Mike," calls Edna, who then goes to the record shop intent on taking Tracy home. Motormouth invites Edna to partake of her cooking, while singing the praises of being plus-sized (Big, Blonde and Beautiful).

    Edna and Tracy return home, and Edna prepares for bed with new confidence in herself. Meanwhile, Velma goes the shop to seduce Wilbur (Big, Blonde and Beautiful (Reprise)). Edna finds them and Velma tricks Edna into thinking Wilbur is in it with her. Edna, really upset and goes to cry upstairs. At Tracy's urging, Wilbur returns to apologize ((You're) Timeless to Me) and they have a fun time dancing outside.

    While at the record shop, Motormouth suggests that everybody meet at 4 p.m. on Friday afternoon to lead a march to the WYZT studios to get on the 11:00 news to protest segregration (I Know Where I've Been), stemming from Velma's scheming decision to drop "***** Day" from the show, and partially because of Tracy's popularity as well as Velma controlling Link's music career. They are halted at the WYZT TV station, where Motormouth and Tracy tries to talk to an officer. In doing so, Tracy taps the officer with her protest sign; the officer characterizes it as an assault, and tries to arrest. Tracy manages to escape the crowd and seeks refuge in Penny's house while an all-points bulletin is put out for Tracy. Penny takes Tracy to their family's basement as a place for her to hide, but Prudy finds them and calls the cops. While Tracy waits in the bomb shelter for the police to arrive, Prudy confines Penny to her room. In the meantime, Link goes to the Turnblad's apartment in an attempt to find Tracy; her parents invite him in. While Link sings to Tracy`s picture and declares his love towards her, Seaweed rescues Penny and they in turn rescue Tracy. They all sing about how they each feel about each other and how their love doesn't matter in how different they are. (Without Love).

    The next day is the Corny Collins Miss Teenage Hairspray pageant, aired live from the studios of WYZT (It's Hairspray). Amber's in the lead due to Velma rigging the voting by hiding all the votes that aren't for Amber in her bra. Tracy's parents and friends try to get Tracy into the station as there are police officers all around all trying to intercept her. Eventually Tracy gets in via an empty hairspray can prop the cops used as a battering ram to get the stations' doors open (Velma thought she was in the place and had it jammed, not knowing it was a diversion). The pageant starts and there are talent agents there (including Ricki Lake, Marc Shaiman, Adam Shankman, and Scott Wittman). Tracy arrives coming down from a stage and she begins to sing (You Can't Stop the Beat) and when Link jumps in with Tracy, Amber becomes stuck in the opening where Tracy entered from. Seaweed also pulled in a shy Penny onto the screen who bursts into energy and declares, "I am now a checkerboard chick!" before kissing Seaweed on live television. When Prudy sees this at home on TV, she falls over the coffee table in shock. Corny then announces Little Inez (Taylor Parks), Seaweed's little sister, as the winner of the pageant as she dances up a storm and gets everybody's vote, thus integrating the show. Velma is fired by Mr. Spritzer (Paul Dooley) after she is caught on camera by Edna and Wilbur telling Amber how she rigged the voting and everybody joins in the song. At the end of the movie, Link and Tracy share a kiss.

    The end credits have character images with the actor's name and show little televisions and hair spray cans as "Come So Far (Got So Far to Go)" and two songs from the stage musical - "Mama, I'm a Big Girl Now" and "Cooties" - are heard. "Mama" is performed by the original film's Tracy (Ricki Lake), the original Broadway Tracy (Marissa Jaret Winokur), and this version's Tracy, Nikki Blonsky; and also includes a very special cameo by the original Broadway Edna (Harvey Fierstein).

    the first one was way boring

    give me ten points please

  • 4 years ago

    Old Hairspray Movie

  • 4 years ago

    Interesting points, but I'm not 100%

  • 1 decade ago

    The newer version to me is better because it is more in this generation. The old one is good too but i think the updated one is better.

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  • Anonymous
    1 decade ago

    the old one sucks!!

    the new one is awesome!!

    and besides Zac Efron is soooo hottt in that movie, like OMG!!

    its basically my favorite movie!!

  • 4 years ago

    I honestly love dirty blonde hair it looks actually pretty

  • Anonymous
    1 decade ago

    That “Hairspray” is good-hearted is no surprise. Adam Shankman’s film, lovingly adapted from the Broadway musical, preserves the inclusive, celebratory spirit of John Waters’s 1988 movie, in which bigger-boned, darker-skinned and otherwise different folk take exuberant revenge on the bigots and the squares who conspire to keep them down. The surprise may be that this “Hairspray,” stuffed with shiny showstoppers, Kennedy-era Baltimore beehives and a heavily padded John Travolta in drag, is actually good.

    Appropriately enough for a movie with such a democratic sensibility, there is plenty of credit to go around. Mr. Shankman, drawing on long experience as a choreographer, avoids the kind of vulgar overstatement that so often turns the joy of live musical theater into torment at the multiplex. The songs, by Marc Shaiman and Scott Wittman, are usually adequate, occasionally inspired and only rarely inane. And they are sung with impeccable diction and unimpeachable conviction by a lively young cast that includes Nikki Blonsky, Amanda Bynes, Zac Efron and the phenomenally talented Elijah Kelley.

    Of course there are better-known, more-seasoned performers on hand as well, notably Queen Latifah, Michelle Pfeiffer, Christopher Walken and Mr. Travolta. But “Hairspray” is fundamentally a story about being young — about the triumph of youth culture, about the optimistic, possibly dated belief that the future will improve on the present — and its heart is very much with its teenage heroes and the fresh-faced actors who play them.

    Ms. Blonsky, a ball of happy, mischievous energy, is Tracy Turnblad, a hefty Baltimore high school student whose dream is to dance with the city’s most telegenic teeny-boppers on “The Corny Collins Show.” Ms. Bynes plays Penny Pingleton, Tracy’s timid best friend, whose prim mother (Allison Janney) won’t even let Penny watch the show, much less appear on it. Mrs. Pingleton can scarcely imagine that her daughter will eventually fall for Seaweed (Mr. Kelley), part of a group of black kids whom Tracy befriends in the detention hall after school.

    As Penny and Seaweed test the taboo against interracial romance, Tracy and Link Larkin (Mr. Efron), a “Corny Collins” dreamboat, take on the tyranny of slenderness. That “Hairspray” cheerfully conflates racial prejudice with fat-phobia is the measure of its guileless, deliberately simplified politics. Upholding both forms of discrimination is Velma Von Tussle (Ms. Pfeiffer), a television station executive who uses “The Corny Collins Show” — against the wishes of Corny (James Marsden) himself — as a way of maintaining the color line and promoting the celebrity of her blond, smiley daughter, Amber (Brittany Snow).

    “Hairspray” does not seriously propose that Tracy and her new African-American friends face equivalent forms of injustice. But it does make the solidarity between them feel like an utterly natural, intuitive response to the meanness and arrogance of their common enemies. “Welcome to the ’60s,” Tracy sings to her mother, conjuring up the New Frontier hopefulness of that decade’s early years rather than the violence and paranoia of its denouement.

    In freezing history at a moment of high possibility — a moment whose glorious popular culture encompasses “West Side Story” and the Twist, early Motown and Phil Spector’s Wall of Sound — “Hairspray” is at once knowingly corny and unabashedly utopian. On “The Corny Collins Show” Seaweed and his friends are relegated to a once-a-month ***** Day, presided over by Motormouth Maybelle (Queen Latifah). Tracy envisions a future when, as she puts it, “every day is ***** Day.”

    What is missing from “Hairspray” is anything beyond the faintest whisper of camp. The original “Hairspray” may have been Mr. Waters’s most wholesome, least naughty film, but there was no containing the volcanic audacity of Divine, who created the role of Edna Turnblad. Divine, who was born Harris Glen Milstead and who died shortly after the first “Hairspray” was released, belonged to an era when drag performance still carried more than a touch of the louche and the dangerous, and was one of the artists who helped push it into the cultural mainstream.

    Perhaps wisely Mr. Travolta does not try to duplicate the outsize, deliberately grotesque theatricality of Divine’s performance or to mimic the Mermanesque extravagance of Harvey Fierstein’s Broadway turn, choosing instead to tackle the role of Edna as an acting challenge. The odd result is that she becomes the most realistic, least stereotypical character in the film, and the only one who speaks in a recognizable (if not always convincing) Baltimore accent. (“Ahm tryna orn,” she complains when she’s trying to iron.)

    A shy, unsophisticated, working-class woman, Edna is ashamed of her physical size even as she seems to hide inside it, as if seeking protection from the noise and indignity of the world outside. It is Tracy who pulls her out of her shell, and without entirely letting go of Edna’s timidity, Mr. Travolta explores the exhibitionistic and sensual sides of her personality.

    Mr. Walken’s gallantry in the role of Edna’s devoted husband, Wilbur, is unforced and disarmingly sincere, and their duet, “(You’re) Timeless to Me,” is one of the film’s musical high points. Another is “Without Love,” in which the two young couples express their yearning with the help of some ingenious and amusing special effects.

    There are, to be sure, less thrilling moments, and stretches in which the pacing falters. But the overall mood of “Hairspray” is so joyful, so full of unforced enthusiasm, that only the most ferocious cynic could resist it. It imagines a world where no one is an outsider and no one is a square, and invites everyone in. How can you refuse?

    “Hairspray” is rated PG (Parental guidance suggested). It has some mildly naughty jokes and innuendo.


    Opens tonight in New York, Los Angeles and San Francisco; tomorrow nationwide.

    Directed and choreographed by Adam Shankman; written by Leslie Dixon, based on the screenplay by John Waters and the musical stage play, book by Mark O’Donnell and Thomas Meehan, music by Marc Shaiman, lyrics by Scott Wittman and Mr. Shaiman; director of photography, Bojan Bazelli; edited by Michael Tronick; score by Mr. Shaiman; production designer, David Gropman; produced by Craig Zadan and Neil Meron; released by New Line Cinema. Running time: 107 minutes.

    WITH: John Travolta (Edna Turnblad), Michelle Pfeiffer (Velma Von Tussle), Christopher Walken (Wilbur Turnblad), Amanda Bynes (Penny Pingleton), James Marsden (Corny Collins), Queen Latifah (Motormouth Maybelle), Brittany Snow (Amber Von Tussle), Zac Efron (Link Larkin), Elijah Kelley (Seaweed), Allison Janney (Prudy Pingleton), Jerry Stiller (Mr. Pinky), Paul Dooley (Mr. Spritzer) and Nikki Blonsky (Tracy Turnblad).

  • Anonymous
    4 years ago

    thanks for the replies, very much appreciated.

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