Today is the first installment of a new series I’d like to start here on musical cameos in movies. It’s akin to the “Scene It” posts, except these entries would only focus on musical artists who make brief but noteworthy appearances in certain movies. At my friend Jacob’s nudging, I thought the perfect inaugural entry of this series would be L7′s supporting role as a rock band in John Waters’s 1994 feature Serial Mom.
First, I’ll preface by saying that I’m not so well-versed in Waters’s singularly tacky ouevre. I saw Hairspray at some point during my childhood. I later watched the remake, which didn’t make me as mad as purists. Sure, the remake was tame. But as it’s also not a remake of the original, but as a reboot of the Broadway adaptation. Thus I don’t think of it as a Waters movie and instead view it as an enjoyable, if defanged, movie musical. I viewed Female Trouble before starting grad school, which I thought was visually arresting and at times wickedly funny, but also plodding and meandering in the second half. I happened on Pink Flamingos‘ singing asshole scene once at my parents’ house, but haven’t watched the rest of Waters’s directorial debut as yet.
I am a fan of Waters, however. He seems like a swell guy and I wish we could be friends so we could watch movies together and trade mix CDs. He’s also the central character of “Homer’s Phobia,” one of my favorite episodes of The Simpsons. I can also say that as relative Waters neophyte, Serial Mom delighted me.
There’s so much going on here. For one, it’s of its era. It can easily be read alongside several American movies from the 90s that indict celebrity scandal and tabloid culture, like To Die For, Natural Born Killers, SFW, and The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom. Kathleen Turner stars as seemingly perfect homemaker Beverly Sutphin, could be lumped in with lethal blondes like Madonna and Basic Instinct’s Catherine Trammell, and has a love for Godfather of Gore filmmaker Herschell Gordon Lewis that she shares with Waters and her son Chip (Matthew Lillard). And while Sutphin is certainly in a higher class bracket than ABC’s titular domestic goddess Roseanne, several times the movie reminded of season two’s “Sweet Dreams,” wherein matriarch Roseanne Conner wishes for five minutes alone in the bath and dreams of killing her entire family. Both women are well aware of the strain that comes for some women who try to perfectly embody the seemingly natural roles of wife and mother.
No wonder Betty Draper broke a chair on Mad Men. She couldn’t get a hold of Don.
Yet I assumed much of this might be apparent on the surface. I also anticipated that Sutphin’s excessive femininity and blood lust could align her with Kathleen Rowe Karlyn’s construction of the unruly woman. However, I was pleasantly surprised that Sutphin killed largely to protect her family instead of commiting psychotic behavior in response to feeling trapped or tied down by them. Most notably for me, she defends the honor of her daughter Misty (Ricki Lake) by killing her philandering boyfriend. What’s more, her husband, son, and, daughter are ultimately quite supportive of her. So while it’s bad to kill people, I was pleasantly surprised that this killer wasn’t pathologized or villified for her actions. It’s an unsettling sense of satisfaction, to be sure. But it’s comforting to know that Suthpin would only sink her scissors into my stomach if I really had it coming.
I was also pleased by L7′s performance as punk band Camel Lips. True to their name, the members sport considerable ‘toe further emphasized by their stretch pants. L7 confronted many people with its own caustic mutations of conventional femininity. They left David Letterman aroused and startled after an appearance on Late Night.
Leader Donita Sparks also dislodged her tampon and threw it at a disrespectful crowd at the Reading Festival, which I hope is being preserved properly. If Kathleen Hanna’s papers are getting archived, there should be a place for this artifact too. Finally, the band’s interest in surf rock and rockabilly indicate that, much like Supthin’s idealization of the 50s housewife and Waters’s love of pulp and gore, there’s nothing innocent about the past.