Florida's Film, Television and the Arts Magazine
Strange Journey: The Story of Rocky Horror - Movie Review by Lisa Blanck
If you're in any way a fan of The Rocky Horror Picture Show, it would be pure madness to ignore Strange Journey. This is a far too-brief 90 minute documentary filled with the little-known back-story and captivating behind-the-scenes tidbits of how this enduring cult classic was (SAY IT!) brought to life. So come up to the lab and see what's on the slab of this must-see film meant for all who live the musical, especially those sweet Transylvanian transexuals.
Directed by Linus O'Brien, Richard 'Riff Raff' O'Brien's son, we're taken on a journey of what began with a few random scribblings and evolved into a multi-cultural, multi-national lovefest of the musical play that almost wasn't. O'Brien first brought his rough musical sketches to Jim Sharman, Director of the stage productions of the rock musicals HAIR and Jesus Christ Superstar. After hearing some of the tunes, Sharman was convinced that O'Brien had something. He eventually brought RHPS to the theater in London. Though it's a musical, casting calls went out for 'interesting people rather than great singers and dancers". With a liberating, in-your-face sexuality, the stage show became a sold-out absolute smash.
In stepped Producer Lou Adler, whose movie production background included Monterey Pop and Brewster McCloud. Adler believed the stage show would make a fantastic film. In Strange Journey, we're treated to in-depth interviews from almost the entire RHPS cast including Susan Sarandon (Janet) and Barry Bostwick (Brad). Magenta (Patricia Quinn), Columbia (Nell Campbell), even Rocky (Peter Hinwood), share some outrageous experiences from RHPS, telling tales of events which occurred both on and off set. This film is O'Brien's story to tell, and he does so with his guitar and a lot of wonder. And, of course, Dr. Frank N. Furter himself, Tim Curry, owns the film. Completely outrageous, FIFTY years after he first starred in the stage production, Curry is a legend.
Bostwick tells us that the cast was "wet and miserable most of the time". Pat Quinn's 'LIPS' are used to bookend the film; she lipsynched O'Brien's iconic opening tune over Richard's voice. Quinn reveals they had to clamp her head in place so that, when singing, she didn't accidentally move her head off camera. They also blacked out the rest of her face for the shots. Everyone, including Jack Black, is on hand to talk about Meatloaf's acting and singing chops, and how much he brought to Eddie's manic character.
RHPS, the film, was an immediate flop. It was difficult to market, impossible to pitch to an audience. One theater owner told Adler that the usual attendance was about 50 people. But it was the same 50 people who kept coming back for every showing. This was the lightbulb moment for Adler: run the film at midnight, in small art-house theaters, and let the audience find the film.
It started with a few talkbacks to the screen. "Buy an umbrella you cheap xxx" to Janet. "Axxhole" to Brad. "I always wanted a handle on my head" to Riff Raff. The spontaneity grew organically. RHPS acquired a cult following, with sold-out shows in every theater. Screenings were usually held at midnight, but eventually the 90-minute film was rolled out every 2 hours. With the adoration came the bags of stuff that attendees brought: cards, toast, a newspaper, a lighter, rice.
If you don't know what I'm referring to, you've never attended a performance with a Shadow Cast/Floor Show. I called them the Floor Show. The film calls them the Shadow Cast. I'm not sure there's a difference. Sometimes they play instruments, sometimes they're acting on the stage and dancing along the rows, while the film screens behind them. But however you identify them, these are ordinary people who step into their characters, transforming themselves to join their RHPS Transylvanian Phantom family. Embracing their right to be different, happy and accepted in a rose-tinted world. Join us; it's just a jump to the left.
