Thank god for this movie. It's a document of talent that, three decades later, seems even more unique and rare in retrospect.<br /><br />The music is just extraordinary, packed with so much talent in writing, performance, arrangement and production that it's absolutely infectious. The lyrics and vocal arrangements are incredible. The performances by under-appreciated talents like Nell Carter and Ren Woods uplift my spirit every time I hear them. While the film may be different from the stage version, I prefer the soundtrack to the cast album, which I find truly grating and under-developed. Here the arrangements are filled out and expanded into dynamic pieces that couldn't have been produced in a stage setting.<br /><br />But the music isn't the only thing extraordinary about this movie. The juxtaposition of almost hyper-realist dialog scenes (reminds me of Altman films) intercut with exuberant musical and dance numbers, really works. All the talent in this movie--directing, writing, photography, editing, music, choreography, casting, acting, costuming, art direction--merge perfectly into one of the best musical films I've seen.<br /><br />I think it's amazing how much we know about the characters in "Hair," based on very little information or plot. They're not drawn as caricatures, but as realistic and very human people. We see little glimpses of where they come from, but the portrait is completed by vignettes that draw the characters to the surface through accomplished acting, directing and editing. There's an undercurrent theme of the misogyny of Berger and Hud which colors their characters by exposing their reckless macho-hippie ideology. The scene of Berger's home life reveals important details about his psychology, and the brief glimpse of Claude's home tells us volumes about his background through the simple, realistic and genuine interaction between Claude and (presumably) his father.<br /><br />I love the fashion in this movie. It defiantly mixes sixties ideas with VERY seventies looks (one does have to overlook Treat Williams' hair extensions...). It's a document of how chic much of the late-seventies was, contrary to the conventional wisdom that the era was all about bad taste. Claude's beige knitted tie was a hot trend of 1979, and the hair and clothing of the singers and dancers (particularly those in white during the Central Park scene) mixes up the decades in a way that suggests the timelessness of the musical's themes. These elements merge with Twyla Tharpe's extraordinary state-of-the-art choreography in a way that enhances the artistry of both.<br /><br />"Hair"isn't a film that rewards cynicism. If you come to it with expectations, then you're most likely going to be held captive by artists who aren't bound by your rules. For me, it opened my eyes and ears and spirit to an insightful and passionate musical dialog about war, friendship and family that transcends its time and is still meaningful and relevant to me to this day.