A musical, a rock opera, romance story, dramedy or tragicomedy; however you may classify it, the fact of the matter is that Hedwig and the Angry Inch is such a unique film, that it stands above and well beyond the limitations of genre classification.

Hedwig [pronounced: hədvig] is an extraordinarily-great little-known film that introduces us to one of the most charismatic personalities the cinematic world has witnessed. It is essentially a story about humanity, which John Cameron Mitchell (as Hedwig) manages to capture through an outstanding performance. One that, combined with an ingenious dialogue and musical sensitivity, provides a refreshing approach to storytelling. The film is full of witty banter and fervent discourse, lending itself to plenty of entertaining situations and an array of comedic fodder. But yet, the great allure lays in the manner in which Hedwig projects herself on the screen; the way her emotions are felt through such deep expressions (even at times presented without a single utterance). She is a force to be reckoned with, and a rarity in the performance field.

Read at Unsung Films: Velvet Goldmine.

The film tells the story of Hansel, beginning with his life as a young German boy who was born just as the Berlin Wall went up. His family is torn apart early on in his youth after a terrible discovery, forcing his mother to raise him on her own and do whatever it takes in order to overcome their hardships and miseries. Later on, as a teenager (and after a sugar tooth-case of candy overload,) Hansel meets an American who is willing to marry the young man and provide him with his one-way ticket out and depart from the country; though not without the condition of having to go through a certain sacrifice first. To paraphrase a line in the film, and without giving too much of the plot away, let’s just say that our protagonist had to give up a little part of himself in order to be free. Hansel’s mother lends her complete support in this decision and even arranges to appoint a source that’ll be implementing the procedure; though much to his dismay, not all goes quite as planned. Nevertheless, Hansel accepts the offer and soon after marries, then relocates to America.

The “other half” is another elemental premise in the story, for it is something that Hansel searches for throughout; it also becomes the extended metaphor which somewhat connects the storylines. The Berlin Wall separating the city in two halves basically functions as an allegory for Hansel himself, as well as for his search of the perfect soul mate (Hansel’s second half.) We are informed that the wall was erected around the time of Hansel’s birth and that its collapse came about during a significant crisis of Hedwig’s, for it occurred after she’s abandoned and is left out on her own; it ultimately defines her future by manifesting her freedom and self-independence. Understandably, in following such references, one is liable to assume that this is yet another wartime- story drenched with dramatic elements. However, that is not the case here; the way in which the script manages to combine wit and drama is part of the brilliance found within the storyline. The same is to be said about the combination of comedic-elements and musical sensitivities, as they are ingeniously represented with rewarding outcome. As we discover right from the very start, the story is mostly told through a song narrative with a flashback approach, delightfully performed by the protagonist and band.

We then encounter Hedwig, who overcomes many difficult predicaments but still clenches on to her dreams of becoming a famous singer. She supports herself and barely pulls through by doing minor jobs such as babysitting and performing her songs in the oddest locations with an assortment of musical partnerships. She eventually finds a young love interest, one she considers to be her other half; they eventually join forces and go through a musically creative period. During this process, the band’s popularity increases considerably, if only for a very short period. In the course of this all, there are deceptions, treacheries, reconciliations and consequently, later on, a meltdown of sorts. Hedwig, heartbroken and betrayed, perseveres; managing to carry on with a newly formed, but quite energetic, small punk band. Her band then becomes family to her, albeit a rather dysfunctional one at that, with all the bickering and infighting that comes with it. The band is comprised of European immigrants whom she has baptized as “The Angry Inch” (after the botched, real-life experience she went through.) Together, they set out to conquer America one buffet/bar gig and mall-appearance at a time; yet, regardless of all the drawbacks, Hedwig is determined to take back what is rightfully hers. Soon after she succeeds, Hedwig goes through some type of breakdown and a chaotic performance follows it. A rebirth of sorts emerges afterwards, offering a sense of closure in regards to her quest for the other half, subsequently finding the true-self in the process.

This is a love story at its core, yet it safely keeps its distance from delving into the schmaltz-filled realm in which love stories usually embark upon. At times, the film dwells in Spinal Tap-esque territory with hilarious results; but then, how could a humorous music-based film not be? It is humor, after all, which extends its separation from the clichés usually found in such generic films. The soundtrack consists of an astonishing set of songs, all of which have their own style, integral to the narrative; yet, they are songs that can, and do, stand on their own outside of the film context. In contrast to other musicals, one can actually sense the distinguishing factor here, in that the composers actually do know a thing or two about the Rock n’Roll spirit. The music is deeply steeped and greatly influenced by 70’s Glam Rock and the Proto-Punk sounds of artists such as Bowie, NY Dolls, Lou Reed, Iggy Pop, and T. Rex, among other icons of the era. The punk rock ethos is omnipresent throughout the film and the subculture themes are exposed through different ideologies. They’re basically represented by the sense of freedom, non-conformity and individualism, by the fashion sense predominant in Hedwig’s colorful wardrobe and styles; as through the do-it-yourself ethic and anti-establishment views depicted and commonly associated with the lifestyle.

Originally conceived by John Cameron Mitchell, the script’s inception came from song fragments and different sources of inspiration. The story was then developed into an Off-Broadway musical which had its debut in the mid-nineties to overwhelming results. Mitchell wrote the text, directed, and performed the lead in both the play and film versions. He was assisted by Stephen Trask who wrote the music and lyrics to the songs, (and who also played the guitarist of the band in both version) with John himself performing all the vocals. The movie was released in 2001 to favorable reviews and in the subsequent years that followed, has garnered a fervent cult status, spawning a devout fan base collectively known as “Hedheads.”

It goes without saying that Hedwig and the Angry Inch is a profoundly affecting film; one that stands the test of time, one that inspires the greatest of human feelings within; therefore inciting a most enthusiastic interest towards it that is quite uncommon, if even unmatched, in today’s era. It frequently compels the viewer to extend the highest of recommendations and pass the secret along to the yet-unfortunates who have not experienced such bliss. And that itself could be just about the greatest accolade one could pay towards those great unsung treasures.

External links

Hedwig and the Angry Inch at IMDb

Hedwig and the Angry Inch at Wikipedia

Hedwig and the Angry Inch (awards won and nominated for) at IMDb