A uniquely told rock musical that doesn't hold back and doesn't forgive

Rating: 8/10 (12 June 2008)

Unlike it's title character, "Hedwig and the Angry Inch" knows exactly what it is. This is a no- questions-asked camp-filled biographical rock musical about a transvestite singer/songwriter. It delivers every bit of that description and anyone expecting something more mainstream from the film should have his/her head checked. But just because it isn't told in conventional fashion doesn't mean it doesn't have the same impact of conventional films--you just need an open mind about, well, a lot of things.
The story begins as Hedwig, a transvestite, and her band the Angry Inch tour the Midwest of the United States playing restaurants and other unlikely gigs, following in the tracks of famous recording artist Tommy Gnosis, Hedwig's former lover that appears to have stolen all her songs. In all her gigs, Hedwig tells the story of her childhood in East Germany and her journey to America that includes a botched sex change operation.
What is most impressive about the overall film is its ability--through song--to weave the narrative of both past and present. Star, writer and director John Cameron Mitchell gets a lot of credit for that. I never saw the stage production, so I don't really know how much credit that deserves, but it certainly takes a strong vision to create a film that adapts that simultaneously and successfully. His performance as Hedwig simply helps that vision along. Even if you're uncomfortable with trans-sexuality, you warm up to JCM as Hedwig quickly because there is nothing surface-only with his character in this film and he shows that the entire time. The catchy music (if you like punk rock) helps that along too. Most commendably, this film doesn't hold your hand through any discomfort. It's established from the start so there aren't any "GLBT themes," just GLBT characters, though some of the issues they face manifest themselves in ways.
The filming in general is very artsy and out there, especially in the final half hour. Everything kind of becomes symbolic at that point and almost entirely unconventional. Some of those scenes are good, but the film leaves you a bit confused because the final half hour is largely dialogue-free and almost all music. It keeps the film from taking the next level, but it doesn't hurt it's overall quality.
The film is not something that JCM tries to cater to all film-goers--it definitely takes a person with certain world views and diverse tastes, but that doesn't stop it from being a great film for what it truly is.