Shock Treatment Evaluation

In November's blog post, I analyze a motion-picture that followed-up a film inspired by an onstage musical. I partook in a rewatch of Shock Treatment, the 1981 equal to 1975's The Rocky Horror Picture Show. I proceeded to rewatch it on numerous occasions. I've certainly accumulated appreciation for the prophetically righteous, abnormal cult-classic. Though I prefer the '75 film, I deem Shock Treatment worthwhile. I'll elaborate on my colossal fondness.

I find its story bizarrely admirable. Jim Sharman's direction enriches the script. It predicted reality television's heinousness. The plot contains quirkiness and campiness. There is creepiness, hinting towards the twists and complexity. Its story is appealing, in contrast to the abandoned Rocky Horror sequel concepts. I deemed them boringly convoluted and gratuitously overdramatized (one of 'em sinned by 86ing Patricia Quinn's Magenta). I'm honestly elated that Shock Treatment's initial conception indulged in a switcharoo. The film retains the intimacy of the 1973 Rocky Horror London production and the '75 film. The viewer's encased in DTV, too.

Shock Treatment possesses a mighty aceful ensemble cast. I'm an immense fan of Susan Sarandon and Barry Bostwick's Janet and Brad in the '75 film. However, Jessica Harper and Cliff De Young's portrayals are suitable for Shock Treatment's writing. Furthermore, it oughta be noted that Barry and Susan weren't the 1st Brad and Janet. Julie Covington and Belinda Sinclair were Janet precursors. Chris Malcolm, the '73 Brad, is DTV's security guard Though Tim Curry's Dr. Frank-N-Furter is one of the grandest pieces of acting, I'm gladdened by his absence. Tim was B'way boardtreading in Amadeus and scenestealing in the movie Annie. Besides, the suave, maniacal, shady Farley Flavors performance suffices.

It's gleeful seeing Rocky Horrors' servant trio in sketchy medical roles (Rik Mayall is an added bonus). Ruby Wax fleshes-out a formerly one-scened character. I'm appreciative of how the respectable Charles Gray didn't act in a vacuum. Jeremy Newson evolves his character into an uncouth cretin. Wendy Raebeck exudes vivacious, passive-aggressive homewrecker vibes. Sal Piro (president of The Rocky Horror Picture Show fanclub) cameos in the opening credits. The band bring exuberant likeability and moral-decency to their performances. I'm giddy 'cause a gaggle of Rocky Horror's Transylvanians materialize throughout. Rayner Bourton, the '73 Rocky, is an audience military man. Alas, Barry Humphries' Bert Schnick is theatrically-repugnant, I'm so disheartened by the absence of Jonathan Adams (the '73 Narrator and '75 Dr. Scott). Luckily, the remainder of the credited principals are savvy, accomplished people.

Shock Treatment's production values are applaudably laudable (especially concerning its $3.5 million budget). Sue Blane's flairful, eclectic costuming pertains to characters. The ginormous Brian Thomson sets exude distinctive detailing. The cinematography/editing is peachily-keen. The score's splendiferous, too. It's heightened by the orchestrations, instrumentals and choreography.

There's gobsmacking aspects to Shock Treatment. For instance, the overture's a continuous shot. Dentonvale's staff is totally syncretic with the TV in Farley's Song. The 1st Lullaby take snagged posterity-preservation. You will encounter Easter eggs/noticeable tidbits. There is a polaroid montage in the closing credits, too.

Upon the rewatching and revaluation of opinions, I'm saddened by unfavorable critiques. Thankfully, the film's accumulated a fanbase. A fundraising, broadcasted tribute concert would generate positivity for the film. Hopefully that transpires. In the meantime, give yourself over to a bit of Shock Treatment.