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Hairspray starts out with such a contagious burst of delightfulness, it's no surprise this feeling isn't quite sustainable over two hours. A true confection in every sense, the film would work better if it were bite-sized. However, because John Waters' 94-minute 1988 film was given the Broadway treatment, and this is an adaptation of that version, it's fattened up by its quantity of production numbers. Some of these are wonderful, like the opening "Good Morning Baltimore" number that immerses us in this pastel world, and the show-stopping "You Can't Stop the Beat" later on. Other songs take on the quality of filler, even if it's pretty pleasing filler. Still, these are relatively minor complaints in an otherwise joyous viewing experience. Hairspray is perfectly cast, from what should be a star-making performance from Nikki Blonsky as Tracy Turnblad, to the wicked scenery chewing of Michelle Pfeiffer as Velma Von Tussle, to John Travolta's sweet and heartfelt performance as Tracy's mother, Edna. Travolta's appearance in drag was a topic of discussion about Hairspray, specifically, what it might indicate about the actor's much-discussed sexuality (Divine, the originator of the role, was an actual drag queen). But it certainly doesn't play as a gimmick, and he has great chemistry with an equally delightful Christopher Walken during their backyard number "You're Timeless to Me." Also timeless are the issues of racial mainstreaming, which give Hairspray more thematic meat than its buoyant production design would suggest. It's a career best for director/choreographer Adam Shankman, who'd been stuck toiling away in throwaway comedies (Cheaper by the Dozen 2, The Pacifier). And in case you're wondering whether Shankman's version has Waters' stamp of approval, watch the opening scene closely for a cameo by the eccentric director, contributing his famously naughty sense of humor by playing a flasher.