Filme mais ou menos, o roteiro é mais ou menos, esse filme do John waters teve poucos cenas pesadas,mais teve, como dois adolescentes entraram na casa de uma velha e atiraram nela e depois outra cena foi divine viu seu cachorro enforcado por uma corda na cozinha de sua casa, o filme não teve uma história boa, E eu não recomendo esse filme.

I'm not the most familiar with Waters' earlier work, but I loved this film and its style here. Polyester is a hysterical comedy that perfects its absurdity and satire of romance films to make an amazing time. Divine and the rest of the cast all give amazingly over-the-top performances and Waters somehow makes a great film out of poor taste. This is a great film for if you need a good (but not so sophisticated) laugh.

Its an interesting transition for Waters as he was moving from his down and dirty early stuff to somewhat more mainstream studio movies. It is funny as a crass Douglas Sirk spoof but the problem is that every performance is in the stratosphere and that type of hysteria can be exhausting.

Seriously? I mean…like, really? What is the appeal to John Waters and his movies? It's hard to imagine anyone even thinking about laughing at any point in Polyester. It's the story of…wait a second…there really is no story. Francine Fishpaw (Divine) has a dysfunctional family. That's about it. It's horribly overacted, the dialogue is terrible, and the whole thing looks amateurish. It's mind-boggling that anybody would even consider recommending this, Odorama or not. There should have been an eleventh spot to scratch on the Odorama scratch card – the stench of foul garbage.

what the hell is going on

From director John Waters and filmed in Odorama comes one of the rare films featuring an LGBTQ lead Divine stars as a transvestite frustrated housewife, Francine Fishpaw She tries to maintain her sanity while taking care of her dysfunctional household Elmer, her husband and the owner of an adult theater, is sleeping with his secretary, and her delinquent teen son, Dexter and pregnant teen daughter, Lulu (Mary Garlington), aren't helping matters The townsfolk are also protesting her husband's profession bringing money from adult themed means But when Francine meets dashing Todd Tomorrow (Tab Hunter), the owner of a theater specializing in art films, her life appears rosier She might've actually found some semblance of happiness Oh and did I mention Francine has a unique sense of smell? It's her gift The movie doesn't have any real focus and the plot really stretches out for long periods of time There's a lack of concentration on what should move forward This was alright

The cheesy melodrama is at odds with the camp of Waters' style, and there is something a little too clean about it. Like you can feel the studio system forcing something more polished here. But it's still gonzo and entertaining enough, the Odor-Rama was a nice touch.

Unsure as I am about what I just watched, I'm even less sure about what I just smelled; but like the scent of piss after drinking a full pot of coffee, there's something divine about a thing so rancid.

I am a huge John Waters fan, I have this movie the Smell-O-Rama is kinda funny and unique. This is your standard John Waters movies I liked this movie funny and passes the time classic movie give it a watch if you are a fan of John Waters you might like it.

A brilliant dark satire of suburban America in the early 1980s. John Waters 1981 comedy Polyester is definitely a acquired taste but there's no denying it's a bold and striking vision, it's a one of a kind film. Divine and Tab Hunter are absolutely fantastic in this movie.

This is an insanely bizarre film, full of shotty acting, strange dialogue, and gross characters... I would 100% recommend everyone to watch it.

Very mild for John Waters, yet this satire of suburb family has everything you expect from a Waters.

The best comedy movie ever made!

This is American life and it is hilarious!

Very funny, solid plot, good pacing, enjoyed actors' performances.

Hasn't Aged Well At All. The Smell-o-Vision Is A Good Gimmick, But The RestOf It, Largely Out Of A Terrible Story, Is Just Deplorable. Not Worth It Really.

A devilish black comedy about mother trying to come to grips with her whole family falling apart. She finds out her husband is an Adult Filmmaker & incredibly unfaithful, her daughter is very wayward & pregnant & her son has an extreme foot fetish. Undoubtedly the film is quite bizarre but it's awfully funny & you find yourself cracking up with the most unlikely scenes. The film features at first Odorama which audiences are given a card with 10 numbers on them & when the number appears on screen you must scratch & sniff it accordingly. It creates a lot of fun with the audience & adds to the film dramatically.

On a neverending quest to understand the mind of John Waters, Polyester sounded like a good chance to get one step closer. With nothing in disguise, Polyester immediately clarifies to viewers its existence as being a satirical look at suburban life. With the main character being a mother attempting to structure her family like a 1950's sitcom in a society rampant with youth violencem, pornography and crude language as social norms. By comparing the contemporary timeframe to the facade of a 50's one, John Waters forced viewers to confront how times have changed with a relentless passion for dark comedy. The style and tone of the film is so brilliantly executed that the viewer can easily fail to recognize the fact that it is a very low-budget production with little in terms of narrative, and so as a result it is truly one of John Waters' finest films. Polyester is a brilliant combination between over-the-top drama and dark comedy. The story is a melodrama full of comedic characters, and with John Waters' tenacious passion for the material he is easily able to let the material push the limits. Though the story is confined to a small set of locations and the overall resolution quality is not the most high-definition, Polyester's screenplay and direction is so intelligent that it gets around it well. The story never really goes anywhere, but that's because it keeps coming back to the same plot point of Francine Fishpaw's endless suffering at the hands of a destructive family. The importance rests on the different ways that John Waters writes this into the screenplay, and the consistent variations between plot twists and sight gags ensures a versatile range of jokes to fuel the dark comedy of the screenplay. The dark comedy is so shocking and unexpected that it still has the power to hold up today, and there is no telling precisely which gags will hit viewers with surprise or laughter since its all a matter of discovering how deep the rabbit hole of John Waters' sick and twisted mind goes. Essentially, Polyester is a very gimmicky film. However, it doesn't mean that all of them completely work out. Though the film is a satire on the "Women's Pictures" of the 1950's and 60's, that genre is little-known today and so its satirical edge is difficult to recognize outside of people who lived through the era or studied it. And as well as that, the "Aromascope" gimmick that came with the film is obviously more difficult to come by these days unless viewers have managed to get their hands on a special version of the home media release. Luckily enough these do not stand in the way of the film's narrative from naturally working, but it's clear that it takes a cult audience to appreciate the full extent of Polyester in its complete glory. Still, that's the case with most John Waters films so there is no sense in complaining all that much about it all. Frankly, of all the niche-driven John Waters films, Polyester carries his distinctive style without being too esoteric and has an organic sense of humour which can appeal to a wider audience. And embracing the odd tone of the film to maximum extent, the cast of Polyester help to ensure there is no shortcomings in terms of acting. Divine's melodramatic lead charms are absolutely brilliant. Treating the entire film like a soap opera, Divine stands out amid a cast of campy actors by taking a "woe is me" approach to every single situation in the film. Divine is so deeply lost in the role that it becomes all too natural, leaving it easy for viewers to forget that the main character is actually a drag queen in real life. Francine Fishpaw is an interesting character as she is the kind that viewers can feel sorry for, but also laugh at. Divine's repetitive nature is so delightfully over the top that it actually never wears thin, but rather proves to bring consistent dark humour into Polyester. Divine is a constant source of melodrama in Polyester, and her endless descent into self-pity is a key source of the film's drama and a lot of its comedy. David Samson is also a strong fit. Capturing a twisted satire on the typical suburban husband, David Samson pumps his character full of the antagonistic archetype of an unappreciative husband. Capturing a gritty edge to him, David Samson takes an approach where he mimics the hard-edged masculinity of male characters from countless classic films and then diverts it into a campy self-obsession. This works to create an intense sense of chemistry between him and Divine where the two just play off each other with contrasting personas, clearly establishing the exact kind of relationship shared between them in no time. David Samson balances a hard edge with campy line delivery very well in Polyester. Mary Garlington is also very over the top in her campy nature. Capturing the free-spirited partygirl nature of Lu-Lu Fishpaw, Mary Garlinton so obsessed with maximizing her physical energy that she never seems to stop moving. She keeps dancing her way through everything even though the jukebox is never playing and she says all her lines with such an airhead nature to her that she comes off as a hilariously cheesy character. The little-known Mary Garlington brings organic energy to Polyester and works to ensure that she transcends the intentional repetition of Lu-Lu Fishpaw's consistently cheesy dance moves. Ken King manages to capture a strongly introverted persona and make a convincing comic transition to a different attitude later into the story, and both Edith Massey and Joni Ruth White manage to join the ensemble in capturing the twisted character creations of John Waters with vibrant humourous energy. So Polyester makes up for its simplistic plot with a brilliant satirical edge and a tone which effectively works John Waters' distinctive style of dark comedy into a fashion which is twisted and yet hilarious while also managing to get the best efforts out of Divine.

My personal favorite John Waters film. It is just subversive enough, but never so much so that I have to cringe. This would be Waters' last entry in Midnight Movies -- and this time he secured an R Rating and some assistance from Debbie Harry and Bill Murray for the theme song! This is a sort of twisted "John Waters' Love Letter to Douglas Sirk. And it is hilarious. Divine is "Francine Fishpaw" and she is having a seriously bad time as a devoted housewife, mother, daughter and friend. And it is all presented in "Odorama!" Not to be missed!

"Polyester" is a sort of warped women's picture, something reminiscent of a forgotten late career Liz Taylor vehicle that everyone glances at for a moment only to go back to drooling over something "Cat on a Hot Tin Roof" related. I'm sure John Waters wanted it that way. Around the time "Polyester" came out (the early '80s, to be exact), he began to get bored with merely shocking people; he had ideas, dammit, and he was going to show the world! Making his favorite drag queen feast on dog poop for the sake of a jolt wasn't going to cut it anymore. So, following "Polyester", he became increasingly mainstream friendly, his next venture being 1987's "Hairspray", which was, in turn, followed by "Cry-Baby" and "Serial Mom". I've only witnessed the latter two - I'm too terrified to watch his earlier, more disgusting ventures - and it's impossible not to get a kick out of his filmmaking instincts. Waters has said that he finds equal influence in high-brow art films and sleazy exploitation trash heaps, and "Polyester" combines the characteristics of the two with startling mastery. It ain't Bergman and it ain't Hill - instead, it's like a Joan Crawford sudser that bled internally after getting shot at a 711 but still decided to crawl to the nearest movie premiere to make an entrance with drama. The film is satire, but it's also a love letter, a stan, if you will, of the Hollywood Golden Age chick flick. If you aren't so convinced of "Polyester"'s determination to give a sloppy kiss to the good old days of the campy melodrama, listen to this plot: overweight housewife Francine Fishpaw (Divine), who considers herself to be an atypical "good, Christian woman", is about to have a nervous breakdown: her dear husband, Elmer (David Samson), is the successful owner of a local porn theatre and an adulterer of the lowest common denominator. Her kids are maniacs: her daughter (Mary Garlington) is an aspiring go-go dancer knocked up by a hoodlum, while her son (Ken King), a glue-sniffer, is currently making media rounds as the Baltimore Foot Stomper. She has no friends, besides the asinine Cuddles (Edith Massey), and her verbally abusive mother (Joni Ruth White) makes sure to frequently stop by the house simply so she can berate her. So after her life eventually goes completely down the shitter (and I mean completely), she spirals into an alcohol-fueled depression. But after she meets Todd Tomorrow (Tab Hunter), a corvette driving businessman, things begin to look up. I know, I know, "Polyester" sorta kinda sounds like an extremely over-the-top drama even Bette Davis would have turned down. But this time around, drama doesn't seem like the right kind of word by way of description. Is there a right word(s) to accurately describe "Polyester"? Consider: our female lead is a poorly dressed drag queen who has no problem reminding us that she is, in fact, a man (always a running joke for Waters). Consider that Tab Hunter, yes, Tab Hunter, the Golden Boy of the 1950s teen movie, is her love interest; that her supposed BFF, portrayed by the indelibly lovable Massey, is nearly toothless; that the film, as part of a marketing stunt, came with Odorama scratch-and-sniff cards to give the viewers a realistic aromatic experience. Nothing about "Polyester" is remotely serious, and I like it all the more for it. At first, it seems like a bunch of super messed up friends got together and decided to make a movie, but as the film continues, one realizes that Waters is actually a clever writer, and Divine is a star, especially when it comes to sniffing loudly (you've got to promote that Odorama, after all), making disgruntled moans, and being all around charismatic. Yes, "Polyester" is chintzy, but sometimes, even the trashiest of entertainment seems like some form of bizarre art. Waters loves to throw garbage at us, but he's good at it. He's a smart director and a smart writer, as good at shocking as he is causing a guffaw. And you're damn right he calls this a living.