Superstar in a Housedress

2004, English, Holly Woodlawn, Jackie Curtis, USA,

Director: Craig Highberger
Release Year: 2004

Synopsis:

Superstar in a Housedress (2004) is a captivating documentary film directed by Craig Highberger that delves into the complex and compelling life of Jackie Curtis, an artist whose work and persona left a lasting impact on the underground theater scene and the broader cultural landscape of the 1960s and 1970s. Curtis, who rose to prominence as one of Andy Warhol’s superstars, was known for her provocative performances, boundary-pushing plays, and gender-fluid identity. The film not only serves as a tribute to Curtis’s artistic legacy but also sheds light on the influential role she played in the queer avant-garde movement. In addition to the documentary, Highberger also wrote a biography of the same name, published in 2005, further cementing Curtis's place in the annals of queer history and underground art.

 

Born as John Curtis Holder Jr. in New York City on February 19, 1947, Jackie Curtis was a visionary artist whose works blurred the lines between gender, performance, and identity. Raised in the East Village, Curtis was steeped in the bohemian arts scene from an early age. After performing in the La MaMa Experimental Theatre Club’s 1965 production Miss Nefertiti Regrets alongside Bette Midler, Curtis quickly became known for her ability to embody both male and female personas on stage. Her early works included plays such as Glamour, Glory and Gold (1967) and Amerika Cleopatra (1968), where she was already experimenting with themes of gender fluidity, social alienation, and artistic self-expression. It was during this period that Curtis's connection with Andy Warhol and the Factory crew began, which would propel her into the international spotlight. Warhol’s influence on Curtis’s artistic development was profound, and she became one of his most iconic superstars. Curtis's involvement with Warhol's films, such as Flesh (1968) and Women in Revolt (1971), cemented her reputation as a key figure in the underground art scene. In these films, Curtis often performed in drag, wearing heavy makeup, glitter, and ragged dresses—an aesthetic that would later inspire glam rockers like David Bowie and the New York Dolls. Warhol famously described Curtis as “an artist” rather than a mere drag queen, underscoring her role as a trailblazer who expanded the boundaries of artistic expression.

 

Superstar in a Housedress explores the various facets of Curtis’s life and work, from her childhood to her untimely death at the age of 38 from a heroin overdose in 1985. The film includes interviews with many of Curtis’s closest friends, collaborators, and cultural commentators, offering a multifaceted portrait of the artist. Notable figures from the Warhol era, including Holly Woodlawn, Penny Arcade, Joe Dallesandro, and Paul Morrissey (director of Flesh and Women in Revolt), provide firsthand accounts of Curtis’s artistic journey and her role in the Warhol Factory. Also featured are Tony Award winners Harvey Fierstein and Lily Tomlin, the latter of whom provides the documentary’s narration. Tomlin’s involvement in the project further connects Curtis’s legacy to the broader spectrum of queer and feminist performance art. The film also includes rare footage of Curtis performing in her various plays, including Vain Victory, Heaven Grand in Amber Orbit, and Glamour, Glory and Gold. These performances showcase Curtis’s unique blend of camp, surrealism, and social commentary, all delivered through her distinctive persona.

 

Curtis’s work, both onstage and on film, was instrumental in the emergence of the queer underground culture that flourished in New York City during the 1960s and 1970s. Alongside Warhol’s other superstars—such as Candy Darling, Holly Woodlawn, and Joe Dallesandro—Curtis became a symbol of the fluidity of gender and sexuality, challenging societal norms and paving the way for future generations of queer artists. Curtis’s drag performances, often marked by exaggerated femininity, over-the-top glamor, and biting humor, embodied the intersection of gender and camp sensibility that became a hallmark of Warhol’s Factory. However, Curtis was not simply a product of Warhol’s world; she was an artist in her own right, with a distinctive voice and vision. Her plays, such as Vain Victory: The Vicissitudes of the Damned (1971), which she co-directed at La MaMa Experimental Theatre Club, mixed absurdist elements with poignant critiques of gender roles, class, and identity. These works were deeply personal, often drawing from her own experiences of alienation and addiction, and featured a blend of satire, surrealism, and a healthy dose of political irreverence. Curtis’s influence on the queer avant-garde cannot be overstated—she helped to define an era in which performance, drag, and gender exploration became central to the cultural conversation.

 

Despite her artistic success, Curtis struggled with a heroin addiction throughout much of her life. The film does not shy away from this difficult aspect of Curtis’s story, providing a raw and honest look at the destructive toll it took on her personal and professional life. Curtis’s drug use ultimately led to her premature death in 1985, at the age of 38. Her death was a tragic loss to the world of avant-garde theater and queer performance, but her influence lived on in the works of artists and musicians who followed in her footsteps. Curtis’s role in Lou Reed’s 1972 song "Walk on the Wild Side" further cemented her status as a cultural icon. The song references Curtis’s fleeting attempt to embody the rebellious spirit of James Dean, while also alluding to her struggles with addiction. The verse "Jackie is just speeding away / Thought she was James Dean for a day / Then I guess she had to crash / Valium would have helped that bash" paints a melancholic picture of a young woman who was both a pioneer and a tragic figure.

 

Superstar in a Housedress highlights the enduring legacy of Jackie Curtis, whose style and spirit continue to resonate with contemporary artists and performers. Figures such as Jayne County, the New York Dolls, David Bowie, and Iggy Pop all drew inspiration from Curtis’s unique blend of glam rock, gender-bending performance, and punk sensibility. Curtis’s influence on the glitter rock movement of the 1970s is clear, and her unapologetic self-expression became a touchstone for later generations of queer and alternative artists. Moreover, Curtis’s work as a playwright, poet, and performer has continued to inspire those working in avant-garde theater, particularly within the realms of drag performance and queer experimental art. Her plays, often performed in small, experimental theaters like La MaMa, were ground-breaking in their depictions of gender and sexual liberation. Her poetry, particularly the long poem B-Girls, was recognized for its depth and observational power, with its inclusion in the 1979 anthology The Poets’ Encyclopedia marking another milestone in Curtis’s artistic achievements.

 

Superstar in a Housedress serves as an essential document of the life and legacy of Jackie Curtis. Through interviews, archival footage, and historical context, the documentary paints a vivid portrait of an artist whose work was as raw and unconventional as the world she inhabited. Curtis was more than just a Warhol superstar; she was a pioneering figure in the world of queer art, an unflinching commentator on the realities of gender and addiction, and an avant-garde artist whose influence continues to reverberate today. In an era where gender fluidity and alternative lifestyles are more widely embraced, Curtis’s contributions to the cultural landscape remain relevant. The film not only immortalizes her as a unique artistic talent but also underscores her role in shaping the cultural and social movements that continue to inspire and challenge the status quo. Jackie Curtis may have been a "superstar in a housedress," but her brilliance shone far beyond any costume. Through this documentary, her legacy endures as a true icon of American avant-garde art.

via: imdb.com
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