Ladies And Gentlemen The Fabulous Stains

Product Description LADIES AND GENTLEMEN, THE FABULOUS STAINS never received a formal theatrical release and was only seen on late-night cable, poor-quality bootlegs, or on rare occasions at film festivals. Yet somehow this 1981 film about a trio of misfit teenage girls who start a punk band went on to inspire a generation of female rockers. SHE CAN T FOOL ALL THE FANS ALL OF THE TIME . . . Recently orphaned Corrine Third Degree Burns (a 14-year-old Diane Lane) enlists her cousin (Laura Dern) and sister (Marin Kanter) to launch a punk rock band, The Stains. Three rehearsals later, The Stains score the opening slot on a cross-country tour with aging metal act The Metal Corpses (led by Fee Waybill of The Tubes) and British punk rockers The Looters (real-life punk pioneers Paul Simonon from The Clash and Steve Jones and Paul Cook of the Sex Pistols). The Stains meteoric rise (and equally lightening-quick fall) owes more to TV exposure than to talent. Amazon.com Some movies just stumble towards cult, mythic status; Ladies and Gentlemen, The Fabulous Stains is one of those magnificent accidents. Besides in-fighting, the few previews shown to the public were unanimously panned, Paramount was at a loss as to how to market it, and the movie had never been available on DVD (or VHS, for that matter). This has just compounded its status as a "lost" film, with the few people who have seen it being evangelical in their gossip about this pseudo punk 'n' roll documentary. Now that it?s here, was it worth the wait? Does it hold up over time? You bet it does. Orphaned girls (Diane Lane, Marin Kanter) along with their cousin (Laura Dern) channel their frustration into a band, The Stains. After a few gigs, the media picks up what they consider a novelty. This leads to a tour with The Looters--idealistic punks from London--and the Metal Corpses (headed by Fee Waybil of the Tubes in a perfectly oblivious performance). Head Looter takes head Stain under his wing, only to become disillusioned as he watches the American media, and by extension American teens, chose popularity over talent (as he sees it). Despite their differing views about how the movie should be handled, both the message of girl empowerment (screenwriter Nancy Dowd) and the idea that all great ideas become co-opted and watered-down (director Lou Adler) resonate throughout the film. The performances, while