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My biggest problem is with the supersession of Broadway's croaking-voiced and drag-queeny but effective Edna, Harvey Fierstein, by John Travolta, claiming to be more feminine but actually only a recognizable fattened-up Travolta. The entire score is pleasant enough, including also "Without Love," which develops not only Link and Tracy's romance but also the interracial one of Tracy's repressed friend Penny (Amanda Bynes) with debonair young Seaweed (Elijah Kelley). Neither number is remarkable, but "New Girl in Town" is, dropped from the stage show but introduced here for Tracy's rise-to-fame montage and Negro Day (unseen in previous versions). Added are two new numbers: "Ladies' Choice," which allows Tracy (Nikki Blonsky) to strut her dancing (or shake her flab) and "Come So Far," for the final credits and the audience to depart on tapped toes. A few songs are omitted or "repurposed," as the film's director, Adam Shankman, explains in a sentimental booklet note.
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#Hairspray 2007 soundtrack zip plus
The new CD replicates the movie's conventionally ingratiating orchestrations by using not only Broadway's Harold Wheeler, but also the composer, Marc Shaiman, plus five others as orchestrators. Nor do I care for the hedonistic and anti-intellectual sentiment in the Marc Shaiman-Scott Wittman lyrics, e.g., Corny singing: Although I, too, favor equal opportunity for all, I personally have no affection for obesity triumphant or hairspray-engendered hypertrophic hairdos.

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This, then, is a plea for the socio-economically underprivileged, whether by blue collar, black skin (only one monthly Negro Day on Corny Collins' show), bloated physique or cross-dressing (Edna must be played by a man). Meanwhile, Tracy's even fatter mother, Edna, who supplements hubby Wilbur's earnings from the joke shop he runs downstairs by taking in laundry, gradually comes out of bashful reclusiveness into full-fledged flaunting of her superopulent figure. This despite the scheming, racist show producer, ex-beauty queen Velma Van Tussle (Michelle Pfeiffer), who is plotting to manipulate her white-toast daughter, Amber (Brittany Snow), into the coveted title Miss Teenage Hairspray. Hairspray is the two-tiered 1962 story of how greatly overweight Baltimore teen Tracy Turnblad captures not only a spot on the popular Corny Collins TV show, but also the love of heartthrob Link Larkin, the lead singer on the show.

By aiming for greater realism and less controversy, it ends up solidly mediocre. The New Line sellout strives to make the grotesque and campy palatable to the great unwashed-or, rather, the great washed. And now the Hollywood feature adaptation further waters down Waters. This was partly defused, but also grandly gussied-up, by the Broadway musical version, opening in August 2002 and still running.
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In the beginning (1988) was John Waters' low-budget, provocateurish cult movie Hairspray.
