Ladies and Gentlemen, the Fabulous Stains isn’t just the best rock movie you’ve ever seen, it’s possibly one of the best rock movies, period, end of discussion. Written by Nancy Dowd (under a pseudonym because of how crappy she was treated on set), features the same kind of working-class malaise and un-PC dysfunction that make Slapshot such a classic of the sports genre. The film never sugarcoats the rise and fall of this group of girls who luck into instant fame.
Corrine Burns (Diane Lane), her sister Tracy (Marin Kanter), and cousin Peg (Laura Dern), otherwise known as Third Degree Burns, Dee Pleted, and Dizzy Heights, aka The Stains. Disaffected and bitter, with good reasons, Corrine and her sister eek by after their mother died on Corrine’s fast-food salary and any help from their Aunt (Christine Lahti), which is nothing. After being featured on a New Segment, Corrine takes her chance at fame with The Stains, getting hired sight unseen by Lawnboy (Barry Ford), a band manager. The three teens on the road will find themselves mocked, at first. Corrine’s message of defiance quickly makes them idols to adoring fans. Though it’s Corrine’s push and pull relationship with the troubling lead singer of their fellow touring band, The Looters, Billy (Ray Winstone), that could spell the end of everything before it even gets started.
The film directed by Lou Adler is not what one would expect from the director of Up in Smoke. Though the comedy and Ladies and Gentlemen, the Fabulous Stains both carry a healthy unease with conforming. In fact, The Stains and Cheech and Chong are strange cousins in the way they both subvert the counterculture they’re a part of. Adler’s film is grounded and earthy. There is nothing glamorous about the life on the road that the Stains go through. Adler’s film understands the dreams of being on the road and just how to subvert that, as it isn’t an escape but rather another grind to work at. Even when the Stains do get a sample of fame, it feels as grimy as anything else.
The film’s appeal is in the force with which the story is told and the characters we meet. Corrine is both a child and a sage old soul; if Linda Manz’s Cebe from Out of the Blue were cousins, it would not be a shock nor a surprise. Like Cebe, Corrine refuses to be a cliché or subscribe to what any authority figure wants of her. Diane Lane plays Corrine with the perfect mixture of jaded cynicism, grief, anger, and wonder. The most shocking aspect of the film is just how Adler does NOT sexualize Corrine but rather eschews that.
The same can be said for Kanter and Dern in early roles. The girls seem to be both in awe of what’s happening and so jaded and brow-beaten by life already, they’re sure it’s going to be taken away from them. In fact, the entire supporting cast, filled with musicians and actors, is great. Everyone is giving truly wonderful live-in performances that feel as real as the touring band, the Stains and Looters are on.
Ladies and Gentlemen, the Fabulous Stains is a truly wonderful cult gem of a rock and roll drama that few have seen. It’s a grounded, gritty tale of the rise and fall and rise again (???) of a band that feels more like a run-and-gun documentary than a narrative drama. It’s the same sort of lived-in reality that Cameron Crowe would later use for deft affect in his semi-autobiographical Almost Famous.
The Transfers
The all-new restoration from its original 35mm camera negative is an excellent presentation of the film. Even on DVD, where this reviewer saw the film, it never looked great. FCE, working with Paramount have restored the film beautifully, retaining the grittiness of Bruce Surtees photography. The HDR encoding (it does not appear to support Dolby Vision, but HDR10) ensures that the color pops on the image, especially during the concert scenes, where many fans are seen sporting bright lipstick red shirts. Any fan who has had to watch this amazing film on DVD or worse, on a murky dubbed VHS, will be amazed by the revelatory picture upgrade. Fun City Edition’s first foray into 4K UHD is a true stunner and is already in contention for 2026’s best picture and sound restoration.
The Extras
They include the following;
Archival audio commentary by director Lou Adler
Archival audio commentary by stars Diane Lane and Laura Dern
Newly recorded audio commentary by Marc Edward Heuck
Newly recorded audio commentary by Jake Fogelnest and Marc Edward Heuck
The Fabulous Stains: Behind the Movie
I Was Command Central, Man
Alternate opening title sequence from 35mm workprint
Deleted scenes from 35mm workprint (presented silent and with commentary from Marc Edward Heuck and Jonathan Hertzberg)
Dailies from the “Professionals” music video shoot
Image gallery
The first of four audio commentaries is an all-new track by Marc Edward Heuck. Heuck dedicates the track musicians Vince Welnick and John Morris before diving into the opening, which was reedited from the original larger opening scene (delete scene can be viewed in the special features of this disc). Some of the other features include a discussion of the development of the screenplay written by Nancy Dowd; the career and personal history of Dowd; how Ray Winstone and the various band members of the Looters (all real-life punk rockers) came to be cast in the film; the reasons why the film was shot in Vancouver, Canada; the reasons why Dowd decided to go under a pseudonym; a larger discussion of the various deleted scenes and plot lines from the screenplay or from earlier drafts; a larger discussion of the various locations the production used in Vancouver, Canada; a larger discussion of the various actors that appear in the film; and much more. The track is hugely informative, with Heuck discussing all manner of factoids from the production, about the various above-the-line and below-the-line crew members, and various notes of interest about what is happening on screen.
The second audio commentary is an all-new track by Jake Fogelnest and Marc Edward Heuck. The duo begins with a discussion of their work to get the movie seen by as many people as possible. Some of the details include where and how they first saw the film in the late 80s and early 90s, respectively; the first true fan of the film, filmmaker Sara Jacobson; the first initial showings on Night Flight, Viewer’s Choice (the 80s PPV at the time), and Z Channel; this being apart (but not really) of the “Paramount seven” and what that entailed and why they packaged these seven films (and other films that were a part of that); the various famous fans of the film; how the film was actually released in theaters but in a very limited capacity in certain markets; how the film came to be made at Paramount; the previous home video releases of the film and behind the scene process; a discussion of the chaos of making of the film; the work and personal life of Lou Adler; and much more. This track is much more of a relaxed conversational commentary track that is more about the critical and fan response to the film.
The third audio commentary is an archival track by director Lou Adler. The track is a very relaxed affair with large amounts of silence. Unfortunately, there isn’t a lot of information about the production itself. Adler spends a lot of time just discussing who and what is on screen. There is an occasional piece of information or an anecdote that’s given during the run time, but nothing of true consequence. This one is for super fans only.
The fourth and final audio commentary is an archival track by stars Diane Lane and Laura Dern. The duo opens up with introductions before diving into the film. The track is a lively discussion between the two obvious friends and castmates. There is quite a bit of information to be gleamed off of the track, but much of it is Lane and Dern going back and forth about the production and joking about their performances and much more. If one has not listened to this one, it’s well worth going in blind without much knowledge, as the pleasure is hearing these two talk with some honesty and transparency. This is the highlight of set.
The Fabulous Stains: Behind the Movie (10:58) – is an archival making-of documentary of this truly cult punk rock musical. The all too brief look at how this film, which was not released theatrically and was only shown a few times on late night Cable, had gained acclaim status among some of the most lauded musicians of the 1990s, and eventually was released. The featurette goes into the trouble production, test screening, and eventual dumping of the film by Paramount that oddly charts a similar path to the film’s heroines, The Stains do. Featuring interviews with Diane Lane, director Lou Adler, screenwriter Nancy Dowd, actor/musician Steven Jones, actor/musician Paul Simonon, actor Christine Lahati, and others.
I Was Command Central, Man (17:11) – is an archival, excerpted audio interview (from 2002) with Night Flight co-creator Stuart Shapiro conducted by Marc Edward Heuck. Shapiro goes on to discuss his origins working in the music industry and eventually transitioning over to producing his first feature, Tunnel Vision. The producer goes on to discuss the other productions he was involved with that were more midnight movies; those movies and dealings with cable that eventually led to creating Night Flight; how Ladies and Gentlemen, The Fabulous Stains came to play on Night Flight, along with other content; and much more. This interview is more of an overall look at Night Flight and its truly revolutionary late programming.
Alternate opening title sequence from 35mm workprint (4:24) – this can be played with the original soundtrack or with commentary by Marc Edward Heuck and Jonathan Hertzberg. The opening was under a different title (The Professionals), but also edited differently with different takes. In the Commentary track by Heuck and Hertzberg, they discuss the alternate title and the way this alternate opening would change the intent of the themes. Note that the commentary does end around 2/3 of the way through.
Deleted scenes from 35mm workprint (presented silent and with commentary from Marc Edward Heuck and Jonathan Hertzberg) – Fun City Edition has created a text that explains that these deleted scenes were recently found in 2024, and unfortunately, were found without sound, though the commentary track does discuss what occurs and what was said:
Bathroom (0:53)
TV New Broadcast #1 (2:06)
Motel Room #1 (2:27)
Bamboo Room and Motel Room #2 (2:51)
Parking Lot (0:51)
TV News Broadcast #2 (0:44)
Stu Interviews Corinne (0:54)
Billy Looks for Corinne (0:57)
Dailies from the “Professionals” music video shoot (16:08) – the footage is not silent like the deleted scenes. One can hear both Adler directing the actors and the song playing as they lip sync to the track.
Image gallery (14:11) – the gallery consists of production stills, ads, poster art, and behind-the-scenes photos.
The Final Thought
Fun City Edition has delivered a truly wonderful 4K UHD upgrade for a much-loved film. Highest Possible Recommendations!!
The long out-of-print Rock ‘n Roll Girls Rebelling classic Ladies and Gentlemen the Fabulous Stains comes to 4K UHD thanks to Fun City Editions, loaded with special features and a new 4K Restoration!
The Films
Ladies and Gentlemen, the Fabulous Stains isn’t just the best rock movie you’ve ever seen, it’s possibly one of the best rock movies, period, end of discussion. Written by Nancy Dowd (under a pseudonym because of how crappy she was treated on set), features the same kind of working-class malaise and un-PC dysfunction that make Slapshot such a classic of the sports genre. The film never sugarcoats the rise and fall of this group of girls who luck into instant fame.
Corrine Burns (Diane Lane), her sister Tracy (Marin Kanter), and cousin Peg (Laura Dern), otherwise known as Third Degree Burns, Dee Pleted, and Dizzy Heights, aka The Stains. Disaffected and bitter, with good reasons, Corrine and her sister eek by after their mother died on Corrine’s fast-food salary and any help from their Aunt (Christine Lahti), which is nothing. After being featured on a New Segment, Corrine takes her chance at fame with The Stains, getting hired sight unseen by Lawnboy (Barry Ford), a band manager. The three teens on the road will find themselves mocked, at first. Corrine’s message of defiance quickly makes them idols to adoring fans. Though it’s Corrine’s push and pull relationship with the troubling lead singer of their fellow touring band, The Looters, Billy (Ray Winstone), that could spell the end of everything before it even gets started.
The film directed by Lou Adler is not what one would expect from the director of Up in Smoke. Though the comedy and Ladies and Gentlemen, the Fabulous Stains both carry a healthy unease with conforming. In fact, The Stains and Cheech and Chong are strange cousins in the way they both subvert the counterculture they’re a part of. Adler’s film is grounded and earthy. There is nothing glamorous about the life on the road that the Stains go through. Adler’s film understands the dreams of being on the road and just how to subvert that, as it isn’t an escape but rather another grind to work at. Even when the Stains do get a sample of fame, it feels as grimy as anything else.
The film’s appeal is in the force with which the story is told and the characters we meet. Corrine is both a child and a sage old soul; if Linda Manz’s Cebe from Out of the Blue were cousins, it would not be a shock nor a surprise. Like Cebe, Corrine refuses to be a cliché or subscribe to what any authority figure wants of her. Diane Lane plays Corrine with the perfect mixture of jaded cynicism, grief, anger, and wonder. The most shocking aspect of the film is just how Adler does NOT sexualize Corrine but rather eschews that.
The same can be said for Kanter and Dern in early roles. The girls seem to be both in awe of what’s happening and so jaded and brow-beaten by life already, they’re sure it’s going to be taken away from them. In fact, the entire supporting cast, filled with musicians and actors, is great. Everyone is giving truly wonderful live-in performances that feel as real as the touring band, the Stains and Looters are on.
Ladies and Gentlemen, the Fabulous Stains is a truly wonderful cult gem of a rock and roll drama that few have seen. It’s a grounded, gritty tale of the rise and fall and rise again (???) of a band that feels more like a run-and-gun documentary than a narrative drama. It’s the same sort of lived-in reality that Cameron Crowe would later use for deft affect in his semi-autobiographical Almost Famous.
The Transfers
The all-new restoration from its original 35mm camera negative is an excellent presentation of the film. Even on DVD, where this reviewer saw the film, it never looked great. FCE, working with Paramount have restored the film beautifully, retaining the grittiness of Bruce Surtees photography. The HDR encoding (it does not appear to support Dolby Vision, but HDR10) ensures that the color pops on the image, especially during the concert scenes, where many fans are seen sporting bright lipstick red shirts. Any fan who has had to watch this amazing film on DVD or worse, on a murky dubbed VHS, will be amazed by the revelatory picture upgrade. Fun City Edition’s first foray into 4K UHD is a true stunner and is already in contention for 2026’s best picture and sound restoration.
The Extras
They include the following;
The first of four audio commentaries is an all-new track by Marc Edward Heuck. Heuck dedicates the track musicians Vince Welnick and John Morris before diving into the opening, which was reedited from the original larger opening scene (delete scene can be viewed in the special features of this disc). Some of the other features include a discussion of the development of the screenplay written by Nancy Dowd; the career and personal history of Dowd; how Ray Winstone and the various band members of the Looters (all real-life punk rockers) came to be cast in the film; the reasons why the film was shot in Vancouver, Canada; the reasons why Dowd decided to go under a pseudonym; a larger discussion of the various deleted scenes and plot lines from the screenplay or from earlier drafts; a larger discussion of the various locations the production used in Vancouver, Canada; a larger discussion of the various actors that appear in the film; and much more. The track is hugely informative, with Heuck discussing all manner of factoids from the production, about the various above-the-line and below-the-line crew members, and various notes of interest about what is happening on screen.
The second audio commentary is an all-new track by Jake Fogelnest and Marc Edward Heuck. The duo begins with a discussion of their work to get the movie seen by as many people as possible. Some of the details include where and how they first saw the film in the late 80s and early 90s, respectively; the first true fan of the film, filmmaker Sara Jacobson; the first initial showings on Night Flight, Viewer’s Choice (the 80s PPV at the time), and Z Channel; this being apart (but not really) of the “Paramount seven” and what that entailed and why they packaged these seven films (and other films that were a part of that); the various famous fans of the film; how the film was actually released in theaters but in a very limited capacity in certain markets; how the film came to be made at Paramount; the previous home video releases of the film and behind the scene process; a discussion of the chaos of making of the film; the work and personal life of Lou Adler; and much more. This track is much more of a relaxed conversational commentary track that is more about the critical and fan response to the film.
The third audio commentary is an archival track by director Lou Adler. The track is a very relaxed affair with large amounts of silence. Unfortunately, there isn’t a lot of information about the production itself. Adler spends a lot of time just discussing who and what is on screen. There is an occasional piece of information or an anecdote that’s given during the run time, but nothing of true consequence. This one is for super fans only.
The fourth and final audio commentary is an archival track by stars Diane Lane and Laura Dern. The duo opens up with introductions before diving into the film. The track is a lively discussion between the two obvious friends and castmates. There is quite a bit of information to be gleamed off of the track, but much of it is Lane and Dern going back and forth about the production and joking about their performances and much more. If one has not listened to this one, it’s well worth going in blind without much knowledge, as the pleasure is hearing these two talk with some honesty and transparency. This is the highlight of set.
The Fabulous Stains: Behind the Movie (10:58) – is an archival making-of documentary of this truly cult punk rock musical. The all too brief look at how this film, which was not released theatrically and was only shown a few times on late night Cable, had gained acclaim status among some of the most lauded musicians of the 1990s, and eventually was released. The featurette goes into the trouble production, test screening, and eventual dumping of the film by Paramount that oddly charts a similar path to the film’s heroines, The Stains do. Featuring interviews with Diane Lane, director Lou Adler, screenwriter Nancy Dowd, actor/musician Steven Jones, actor/musician Paul Simonon, actor Christine Lahati, and others.
I Was Command Central, Man (17:11) – is an archival, excerpted audio interview (from 2002) with Night Flight co-creator Stuart Shapiro conducted by Marc Edward Heuck. Shapiro goes on to discuss his origins working in the music industry and eventually transitioning over to producing his first feature, Tunnel Vision. The producer goes on to discuss the other productions he was involved with that were more midnight movies; those movies and dealings with cable that eventually led to creating Night Flight; how Ladies and Gentlemen, The Fabulous Stains came to play on Night Flight, along with other content; and much more. This interview is more of an overall look at Night Flight and its truly revolutionary late programming.
Alternate opening title sequence from 35mm workprint (4:24) – this can be played with the original soundtrack or with commentary by Marc Edward Heuck and Jonathan Hertzberg. The opening was under a different title (The Professionals), but also edited differently with different takes. In the Commentary track by Heuck and Hertzberg, they discuss the alternate title and the way this alternate opening would change the intent of the themes. Note that the commentary does end around 2/3 of the way through.
Deleted scenes from 35mm workprint (presented silent and with commentary from Marc Edward Heuck and Jonathan Hertzberg) – Fun City Edition has created a text that explains that these deleted scenes were recently found in 2024, and unfortunately, were found without sound, though the commentary track does discuss what occurs and what was said:
Dailies from the “Professionals” music video shoot (16:08) – the footage is not silent like the deleted scenes. One can hear both Adler directing the actors and the song playing as they lip sync to the track.
Image gallery (14:11) – the gallery consists of production stills, ads, poster art, and behind-the-scenes photos.
The Final Thought
Fun City Edition has delivered a truly wonderful 4K UHD upgrade for a much-loved film. Highest Possible Recommendations!!
Fun City Edition’s 4K UHD Edition of Ladies and Gentlemen, the Fabulous Stains is out now.
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