I said I lost my doubts about "Hair" during "Age of Aquarius." To be more precise, they disappeared during Tharp's opening scene in Central Park, when the dancers were joined by the horses of mounted policemen. Anyone who can sit through that opening dance sequence and not be thrilled should give up musicals. “Hair” is now considered to be a cult hippie classic, however the film was shot at the end of the 1970s, at a time when the social resonance of hippie ideals had lost its currency. Spiritedly performed by a groovy cast and imaginatively directed by Milos Forman, Hair transports audiences straight to the Age of Aquarius.
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In the original Broadway production, the stage was completely open, with no curtain and the fly area and grid exposed to the audience. The proscenium arch was outlined with climb-ready scaffolding. Wagner's spare set was painted in shades of grey with street graffiti stenciled on the stage. The stage was raked, and a tower of abstract scaffolding upstage at the rear merged a Native American totem pole and a modern sculpture of a crucifix-shaped tree.
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He gradually stops believing in everything he used to consider “right.” This film is an anti-war parable full of hippie tenderness, psychedelic fantasies, and outstanding music. “Hair”was written in the decade after the 1960s, when the revolutionary spirit of that time had become a nostalgic memory. He brings life to the musical form in the same way that "West Side Story" did, the last time everyone was saying the movie musical was dead. After wandering the city ("Where Do I Go?"), Claude finally reports to the draft board (“Black Boys/White Boys”), completes his enlistment, and is shipped off to Nevada for basic training.
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This number, like a lot of the movie, is loosely structured around the political attitudes of the Vietnam era, but the politics isn't heavy-handed. And it's interesting how it recalls "Hair"'s myths of the 1960s -- especially the image of the youth culture as a repository, simultaneously, of ancient American values and the new values aborning in the Age of Aquarius. Hair was released on VHS by 20th Century Fox Video in 1982 with later VHS releases from MGM/UA Home Video (distributed by Warner Home Video). The film was released on DVD by MGM Home Entertainment on April 27, 1999, as a Region 1 widescreen DVD, and on Blu-ray on June 7, 2011. Months later, Claude, Sheila, and the tribe gather at Berger's grave in Arlington National Cemetery, whose grave marker shows that he was killed in Vietnam ("Let the Sunshine In"). The film ends at a full-scale peace protest in Washington, D.C.
Sheila is carried onstage ("I Believe in Love") and leads the tribe in a protest chant. Jeanie, an eccentric young woman, appears wearing a gas mask, satirizing pollution ("Air"). Although she wishes it was Claude's baby, she was "knocked up by some crazy speed freak". The tribe link together LBJ (President Lyndon B. Johnson), FBI (the Federal Bureau of Investigation), CIA (the Central Intelligence Agency) and LSD ("Initials"). Six members of the tribe appear dressed as Claude's parents, berating him for his various transgressions – he does not have a job, and he collects "mountains of paper" clippings and notes.
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He soon falls in love with Sheila Franklin, a rich girl but still a rebel inside. Claude Hooper Bukowski of Oklahoma is sent off to New York City after being drafted into the Army ("Aquarius"). Before his draft board-appointment, Claude explores New York, where he encounters a close-knit "tribe" of hippies led by George Berger. The tribe moves in front of Claude as Sheila and Dionne take up the lyric. The whole tribe launches into "Let the Sun Shine In", and as they exit, they reveal Claude lying down center stage on a black cloth.
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Claude sits center stage as the "tribe" mingles with the audience. Tribe members Sheila, a New York University student who is a determined political activist, and Berger, an irreverent free spirit, cut a lock of Claude's hair and burn it in a receptacle. After the tribe converges in slow-motion toward the stage, through the audience, they begin their celebration as children of the Age of Aquarius ("Aquarius"). Interacting with the audience, he introduces himself as a "psychedelic teddy bear" and reveals that he is "looking for my Donna" ("Donna"). That this time and spirit could be evoked so well and so naturally is a tribute to the director, Forman.
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They say that they will not give him any more money, and "the army'll make a man out of you", presenting him with his draft notice. In defiance, Claude leads the tribe in celebrating their vitality ("I Got Life"). The tribe recites a list of pharmaceuticals, legal and illegal ("Hashish"). Woof, a gentle soul, extols several sexual practices ("Sodomy") and says, "I grow things." He loves plants, his family and the audience, telling the audience, "We are all one." Hud, a militant African-American, is carried in upside down on a pole.
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This scaffolding was decorated with found objects that the cast had gathered from the streets of New York. Some of these included mixed parts of military uniforms, bell bottom jeans with Ukrainian embroidery, tie dyed T-shirts and a red white and blue fringed coat.[99] Early productions were primarily reproductions of this basic design. The movie also evokes the stylistic artifacts of the flower-power time. The love beads and vests and headbands and fringed jackets and all the other styles that were only yesterday, already look more dated than costumes from the 1940s. And it remembers the conflicts in lifestyles, mostly strikingly in scenes between the young black man (Dorsey Wright) who has joined the hippies, and the mother of his child (Cheryl Barnes), whom he left behind.
Hair tells the story of the "tribe", a group of politically active, long-haired hippies of the "Age of Aquarius" living a bohemian life in New York City and fighting against conscription into the Vietnam War. Claude, his good friend Berger, their roommate Sheila and their friends struggle to balance their young lives, loves and the sexual revolution, with their rebellion against the war and their conservative parents and society. Ultimately, Claude must decide whether to resist the draft as his friends have done, or to serve in Vietnam, compromising his pacifist principles and risking his life.
He leaves as the tribe enters wrapped in blankets in the midst of a snow storm. They start a protest chant and then wonder where Claude has gone. Berger calls out "Claude! Claude!" Claude enters dressed in a military uniform, his hair short, but they do not see him because he is an invisible spirit. Two tribe members dressed as tourists come down the aisle to ask the tribe why they have such long hair.
So maybe it isn't, really, and maybe the sun set on that particular age back around the time they pinched the Watergate burglars. But Milos Forman's "Hair" opens with such confidence and joy, moves so swiftly and sustains itself so well that I wonder why I had any doubts. "Hair" is, amazingly, not a period piece but a freshly conceived and staged memory of the tribulations of the mid-sixties. Claude Bukowski leaves the family ranch in Oklahoma for New York where he is rapidly embraced into the hippie group of youngsters led by Berger, yet he's already been drafted. Read allClaude Bukowski leaves the family ranch in Oklahoma for New York where he is rapidly embraced into the hippie group of youngsters led by Berger, yet he's already been drafted.
Upon receiving his draft notice and leaving his family ranch in Oklahoma, Claude heads to New York and befriends a tribe of long-haired hippies on his way to boot camp. And the leader of the hippies (Treat Williams, of "Jesus Christ Superstar") leads them all in a high-spirited invasion of the girl's debutante party. It's one of the movie's best scenes, somehow finding a fresh way to handle the old cliche of the uninvited street people at a millionaire's party. After a black-out, the tribe enters worshiping in an attempt to summon Claude ("Oh Great God of Power"). Claude gives Woof a Mick Jagger poster, and Woof is excited about the gift, as he has said he's hung up on Jagger. Three white women of the tribe tell why they like "Black Boys" ("black boys are delicious ..."), and three black women of the tribe, dressed like The Supremes, explain why they like "White Boys" ("white boys are so pretty ...").
He declares himself "president of the United States of Love" ("Colored Spade"). In a fake English accent, Claude says that he is "the most beautiful beast in the forest" from "Manchester, England". A tribe member reminds him that he's really from Flushing, New York ("Manchester England"). Hud, Woof and Berger declare what color they are ("I'm Black"), while Claude says that he's "invisible". The tribe recites a list of things they lack ("Ain't Got No"). Four African-American tribe members recite street signs in symbolic sequence ("Dead End").
During the curtain call, the tribe reprises "Let the Sun Shine In" and brings audience members up on stage to dance. After the trip, Claude says "I can't take this moment to moment living on the streets. ... I know what I want to be ... invisible". As they "look at the Moon," Sheila and the others enjoy a light moment ("Good Morning Starshine").
He pretends to burn his Vietnam War draft card, which Berger reveals as a library card. When “Hair” screened in Forman’s native (and those days communist) Czechoslovakia, people queued all night to get tickets. For that generation of Czechs the movie became a manifesto of longed-for freedom. However, the reason behind its popularity wasn’t a criticism of the United States, as the communist regime (mistakenly) believed. The film “Hair” tells the story of a naive boy from the American Midwest named Claude Hooper Bukowski who has been shaped by his family’s patriotism. Under the influence of a group of hippies led by the charming George Berger, Claude starts to doubt his motivation for joining the Vietnam War.
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