Outrageous!

What an unexpected treat.Long before Pricilla and all the others, there was Craig Russell. His impersonations remains vividly embedded in my brain because besides the look and mannerisms, I perceived the soul of the characters in question. They are not caricatures but tributes. His Judy Garland is heartbreaking and his Mae West hilarious.As if all that was not enough we have a screenplay of such intelligence and wit that I'm surprised this film is not a classic. When Holly's doctor finds out she lives with a man, he tries to warn her about the risks (she's bi polar) of an emotional, sexual entanglement. She reassures him telling him "Don't worry, we sleep in separate worlds" Lovely.

Bittersweet story of a hairdresser in Toronto who becomes a drag star (sort of) and his friendship with a schizophrenic girl trying to start a life away from her mother and hospitals. As played by Craig Russell and Hollis McLaren we see two fragile-but-believable characters struggling to find themselves in New York City.

McLaren's character of Liza has been released after years in a mental ward. She's still defiant and wants to experience life. She moves in with Russell in Toronto and has ups and downs and ends up pregnant. Russell is drawn to performing in a local club and loses his job, giving him the excuse to pursue his drag act full time, eventually moving to New York. After Liza loses her baby, she follows Russell to New York and realizes that the "bone crushers" she often hallucinates have stayed behind in Toronto.

The main focus though is Russell as he prepares for and then performs his act. He channels Tallulah Bankhead at the drop of a hat and with a series of wigs and quick changes he impersonates Bette Davis, Joan Crawford, Carol Channing, Pearl Bailey, Ella Fitzgerald, Bette Midler, Ethel Merman, Marlene Dietrich, Mae West, Barbra Streisand, and Judy Garland. The Midler is not great but the others are pretty much spot on.

Best of all is is a full-dress Peggy Lee singing "It Ain't Easy." This is Russell's best act and the song is terrific (Paul Hoffert wrote it). It also bring us to the marvelous and surreal ending when Russell, still in full Peggy Lee drag tells Liza that she's not crazy, just special, and that she must simply be herself, embrace her madness and make it work for her. He tells her we are all mad and then teaches her to do a deep Bankhead laugh saying maaaaaad, maaaaad.

Also in the cast is the very funny Richert Easley as Perry, a would-be drag queen who has a passion for Karen Black. As he's begging Liza for the loan of a dress he grabs one out of the closet and she tells him "that's my best dress." He looks at her and opines, "This is your best?" Also in the cast are Helen Shaver as a lesbian friend and David McIlwraith as the cab driver/manager..

A word must be said for the wonderful music by Paul Hoffert, who in addition to "It Ain't Easy," also wrote "Step Out" sung by Cecille Frennette.

The late Craig Russell is the star of Outrageous! It was a cult favorite here in the Boston area, playing for weeks at the late lamented Orson Welles Cinema. I had a bright red T-shirt with the movie logo on the front that I treasured for years.

First and foremost, the film is a document of his brilliant performances; he not only got the look and mannerisms of his subjects down cold, he also spoke and sung all the voices himself!

The plot, such as it is, is a tale about his attempts to become a successful performer, and about his schizophrenic friend and how he and she support and heal each other. It's not bad, but the performances are the heart and soul of the film.

Outrageous! was long out of print; happily for the world, it's available again. Get it while you can.

The title of this small gem hasn't aged as well as the film itself, which is certainly different (refreshingly so), but hardly outrageous in this semi-enlightened age, The bittersweet story of a gay hairdresser and part time drag queen, who befriends a pregnant schizophrenic recently escaped from a Toronto snake pit, might seem to be stretching the limits of romantic comedy, but the film succeeds as an offbeat celebration of human individuality, warts and all. What makes it special is the way it refuses to pin down a unique relationship: Robin and Liza are simply indifferent to each other's differences. None of their friends (gay or straight) can understand them, but in retrospect they aren't really so odd a couple: one is schizoid by nature; the other by vocation. The message is simple: be yourself, even if half the time you're someone else, and the low-budget look adds a raw edge of realism to the scenario, blunting the sentimentality and giving the humor a grey lining of melancholy. The story loses focus only when the emphasis shifts away from the couple to Robin's stage career, a showcase for actor Craig Russell's pitch-perfect drag impersonations—from Mae West to Betty Davis to Ella Fitzgerald.

At first I reacted against the sentimentality of the madness-as-nonconformism theme, which is really mostly down to Hollis McLaren; as Craig Russell's heavily medicated roommate, she gets more than a little familiar when she expresses her downturns with hushed gibberish or staring through her fingers. But in between episodes she really gets to articulate the bill of outsiders' rights, and Russell is right there with her. No comparable clichés in this film's depiction of the Toronto gay scene, a diverse yet claustrophobic enclave that places transvestites on the bottom of a depressingly rigid hierarchy - an economic threat to closeted hairdressers, stealth patriarchs to the second-wave dykes. At a time when cinematic queerness was synonymous with effete self-loathing, this sympathetic and detailed depiction of a complex, vital skid-row subculture was decades ahead of its time, and has real time-capsule value today. All of which to say is that they're far from just marking time between Russell's impersonations, which are definitive even if he did steal them from Mae West herself. Put the two together and you've got a film that synthesizes social engagement and entertainment value with almost unprecedented verve.