This weekend, my spouse and I continued our exploration of queer cult classics with To Wong Foo, Thanks for Everything! Julie Newmar (1995). From its playful title, inspired by the autograph of 1960s star Julie Newmar, to its extravagant drag performances, To Wong Foo embodies camp from beginning to end. However, does it reflect a progressive viewpoint or serve as a nostalgic reminder of 90s optimism?

Point of Order: If To Wong Foo were released in 2024, it would likely face backlash from the alt-right, labeling it liberal propaganda and calling for its cancellation.

The film opens with a cameo by RuPaul, who presents the Drag Queen of the Year award while dressed in a gown adorned with the Confederate flag, adopting the drag persona "Rachel Tension." The scene plays out like a conservative nightmare: a vibrant mix of queer culture, camp, and acceptance, even when the queens find themselves stranded for the weekend in a conservative small town.

The narrative kicks off with RuPaul awarding the coveted title to veteran queens Vida (Swayze) and Noxeema (Snipes), who earn a glamorous trip to California to compete in the Miss Drag Queen of America Pageant. After the ceremony, they discover Chi-Chi Rodriguez (John Leguizamo), a newcomer, crying in a stairwell. Despite Noxeema's objections, Vida decides to mentor Chi-Chi and bring her along to Los Angeles.

Opting to exchange their plane tickets for cash, the trio rents a chic 1967 Cadillac to drive from New York to Los Angeles, commencing their journey in drag.

The plot revolves around the three queens navigating middle America, attempting to pass as women while encountering various comedic situations. Noxeema and Vida are particularly anxious about being recognized as men, especially during stops at rural motels. In contrast, Chi-Chi's carefree attitude often puts the older queens on edge as they scramble to protect her.

When a straight man dons a dress for kicks, he is labeled a transvestite. A man undergoing transition is termed a transsexual. A gay man with a flair for fashion is a drag queen, while a young Latin boy in a dress is merely a boy in a dress!

An additional subplot unfolds when the queens are pulled over by a sheriff in a rural area. Mistaking Vida for a woman, Sheriff Dollard makes a troubling advance, leading to a violent confrontation that catches viewers off guard in what is otherwise a comedy.

Believing they have harmed a law enforcement officer, the queens flee the scene. Their car breaks down, leaving them stranded in the small town of Snydersville while they await repairs.

Snydersville serves as a microcosm of middle America, rife with typical prejudices. Yet, through the influence of drag, the queens empower the local women, helping themselves in the process:

• Carol Ann (Stockard Channing), the mechanic's wife, escapes her abusive husband thanks to Vida's intervention.
• Chi-Chi finds romance with local boy Bobby Ray, who helps her overcome harassment.
• An overlooked elderly woman bonds with Noxeema, who becomes her advocate.
• An interracial couple receives support from the queens.
• A boy with a stutter discovers his voice.
• The entire town undergoes 1960s-style makeovers.
• A strawberry festival is organized, complete with a dance and decorations.

When Sheriff Dollard returns to demand Vida's arrest, the community unites in a powerful stand, each declaring, "I am a drag queen!"—ultimately driving the disgraced officer away.

Carol Ann: Vida, I don’t see you as a man or a woman... I see you as an angel.

In a classic Hollywood ending, three gay guardian angels resolve the issues of an entire town over a weekend, earning acceptance against the odds.

To Wong Foo is a whimsical, uplifting comedy. Much like Robin Williams's The Birdcage, which I reviewed previously, the film paints a sparkly picture of a world that avoids addressing deeper issues. Williams's cameo as the flamboyant John Jacob Jingleheimer Schmidt reinforces the film's comedic intent.

While I hold a deep admiration for Robin Williams, To Wong Foo often feels the need to remind viewers that it's a comedy, as it occasionally strays into darker territory that clashes with its colorful aesthetic. From the fear of being outed to the attempted assault and racial slurs, the film flirts with serious themes only to retreat into lightheartedness again.

Ultimately, To Wong Foo serves more as a tribute to small-town conservative America, presenting an overly rosy view of acceptance. The only notable antagonist is the abusive sheriff, who is implied to be a self-loathing gay man, while others in the town are depicted as welcoming.

Carol Ann's heartfelt acknowledgment of Vida's Adam's apple is both touching and humorous, creating a memorable moment that highlights the film's blend of sincerity and comedy.

Carol Ann: You have an Adam's apple. Women don't have those; only men do. But I consider myself lucky to have a lady friend with an Adam's apple.

However, would this moment have had a stronger impact if it were set against a backdrop of more realistic societal rejection?

As I reflect on this film in 2024, I find myself conflicted.

There is certainly a need for queer joy in cinema: a film can be purely entertaining without deeper implications. Had To Wong Foo embraced this notion more fully, I would wholeheartedly support it. Instead, it attempts to balance lighthearted fun with a desire to enlighten viewers, ultimately diluting its characters.

Though portrayed by straight actors, the characters feel devoid of authentic gay identity, presenting a sanitized version of gay men that aligns with heteronormative expectations.

While To Wong Foo has good intentions, its overly optimistic outlook can feel out of touch with the real struggles faced by its characters.

Several narrative threads seem to have been left unresolved, as if the film shied away from exploring darker themes. Why did the trio visit Vida's childhood home if there was to be no confrontation with her prejudiced family? Why raise issues of racism only to abandon them?

Then, there's the most glaring inconsistency: why remain in drag throughout the entire road trip? The queens express discomfort with being out of the city, yet they persist in their personas, even in their hotel room.

They stay in drag even when alone, with Swayze's wig only coming off during a pivotal moment of vulnerability.

Many subplots feel incomplete, leaving an impression of a film that was either edited down or left unfinished.