First Impressions, and Second Looks by The Unimonster

As is probably the case with most people these days, when I listen to music it’s usually in the form of mp3s, on my cell phone. For someone whose second album purchase (ten points if you get the significance of that) was the soundtrack of Superman, the Movie on an 8-track tape, things have come a long way. One thing that hasn't changed or at least, I didn't think it had, is my taste in music. I grew up in a house filled with music lovers, though each followed the beat of a different drummer. My eldest sister Wanda Susan loved Motown, our sister Dee Karen was deep into what I still think of as ‘hippie music’, the Beatles, the Doors, Janis Joplin. Our brother David was Southern Rock—Lynyrd Skynyrd, Molly Hatchet, Blackfoot. The youngest boy, Mark, was a heavy metal headbanger who loved Def Leppard. Our mother was pure country. And from all of these influences, and others, my rather broad and eclectic musical predilections were formed.

I long ago thought that my musical preferences were set, carved in stone, beyond the point of change. From pure honky-tonk country, to 1950s Doo-Wop, to the symphonic works of Tchaikovsky, music remains one of the great joys of my life, and until recently I was content. However, while talking with a friend, the topic moved to favorite music, and she mentioned a favorite song of hers, one that she loved as a child, one that was on an old cassette of her mother’s. That song was Eric Carmen’s Make Me Lose Control, which topped out at #3 in 1988. My first thought was that I was twenty-four when that song came out, and she was not yet born. My second thought was that I hated Eric Carmen when he was ‘popular’, and then I realized, that very song is on my phone. Not only is it on my phone, but I paid $1.29 to put it there. When in the hell did I start liking Eric Carmen?

But as I pondered that, a more disturbing thought arose. That wasn't the only Carmen song on there, including some of his work when he was lead singer with the Raspberries. I soon realized that there were more songs from artists who I once disliked and who I now enjoy.

Okay, before you regular readers start believing that the Unimonster is now doing a music blog; let me reassure you that this article is about horror movies. It occurred to me, as I was considering the rather surprising turn in my musical affections, that there are movies which I disliked upon first viewing them, and about which my opinions have mellowed, somewhat.

One of these, and the one that might be the most surprising for those readers familiar with my love of the classics, is the 1992 version of Dracula, Francis Ford Coppola’s take on Bram Stoker’s classic novel. Though far more faithful to Stoker’s vision than most of the films that preceded it, upon my first viewing of it twenty-two years ago I found it slow-paced, talky, and for the most part uninteresting. My thoughts on it, from the personal notes from my database of Horror films, were, “Overly pretentious version of the Classic vampire tale nearly works, but is finally dragged down by the weight of its own pomposity, as well as Keanu Reeves’ absolutely wretched performance as Jonathan Harker.” Recently however, I bought the Collector’s Edition DVD, released by Sony Home Entertainment in October, 2007. While Reeves’ performance is still just as wretched (seriously, was every other possible choice for Harker tied up at the time?), and the film still comes off as pretentious, I found it far more enjoyable that I did then. The 49-year-old Unimonster was more appreciative of the theme of the film, which is ‘Love, lost yet still eternal’, than the 28-year-old Unimonster had been. I also found the manner in which the historical Vlad Tepes, also known as Vlad Dracula, was reconciled with Stoker’s fictional Count very satisfying. It will never be my favorite version of the story, but it’s definitely one I will watch again.

Another that has grown on me with repeated viewings is The Rocky Horror Picture Show. This picture has gone from being one that left me cold, to being one of my favorites. My first thoughts on this movie, again from my database: “Though it may rule the midnight movie show, on TV it's just a silly, dated musical. Tim Curry's performance is inspired, but it can't lift this out of mediocrity alone. Without the insanity that is the Audience Participation, it just falls flat.” Boy has my opinion changed! So much so that I’m embarrassed at how wrong I was about this movie. While I've yet to attend a midnight showing of the film, experiencing it the way it was meant to be experienced, I can say that the experience of sitting in your living room, singing along with all the songs as the dog looks at you with a strange mix of concern and, yes, pity, must be similar.

However, the movie that surprised me with how my opinions have changed over the years is one that, if I had to be honest about at this point in time, is in my personal top ten of Horror films, of all-time. That movie is Sam Raimi’s classic The Evil Dead. Now when I watch it, I see one of the most imaginative, innovative horror films of the last half of the 20th Century, a movie that defied conventions, low-budget, and good taste to become one of the most popular films of the Drive-In era. Compare that to my database: “Made on a nothing budget, Sam Raimi’s cult blockbuster has never been a favorite of mine. Still, its popularity can’t be denied … it’s become one of the biggest Horror franchises ever.” Well, I was right … and wrong. Not about the historical significance of Raimi’s movie; but about it not being a favorite of mine. That part is no longer true.

Will my taste continue to evolve over time? What will the 60-year-old Unimonster’s opinion be of the movies that his 50-year-old self detested? Some, I’m sure, will have aged well in my eyes, perhaps prompting a similar look back in the 2024 version of the Unimonster’s Crypt, delivered via thought waves directly into the brains of my readers. Does that mean I’ll be sitting through my eighth or ninth viewing of Snakes on a Plane? I wouldn't bet on that.

LITTLE SHOP OF HORRORS, or how a Little Plant named Audrey II took over the World!

THE LITTLE SHOP OF HORRORS (1960) began when director Roger Corman was given temporary access to a set left standing from shooting A BUCKET OF BLOOD the year before.  Re-fitting the sets, Roger Corman shot the principle photography of LITTLE SHOP in two days and one night from a script penned by Charles B. Griffith who had also written A BUCKET OF BLOOD.  Originally planned as a spy thriller by Corman, Griffith wanted to do another horror comedy.  It was only after a night of heavy drinking that Griffith persuaded Corman to shoot Griffith’s screenplay about a man-eating plant titled The Passionate People Eater.  The film was cast primarily from Corman’s stable of stock players.  Dick Miller, who had played the protagonist in A BUCKET OF BLOOD was offered the lead role of Seymour Krelboyne but turned it down, opting for the smaller role of the flower-eating customer Burson Fouch, so Jonathan Haze was hired to play Seymour.  Charles B. Griffith played several smaller roles, with his father appearing as a dental patient and his grandmother as Seymour’s hypochondriac mother.

Seymour Krelboyne is a nebbish who works at a skid-row florist shop run by boss Gravis Mushnick (Mel Welles).  Seymour has a crush on co-worker Audrey Fulquard (Jackie Joseph), a sweet but naive girl with no idea of Seymour’s affections.  One day, after flubbing a flower order, Mushnick fires Seymour but Seymour persuades Mushnick to give him another chance by showing him a strange and unusual plant that Seymour has named the Audrey 2, much to the original Audrey’s delight.  Audrey explains to Mushnick that placing such an unusual plant in the run-down shop’s window might draw more ... or even some ... customers into the shop, Seymour is given the task of improving the drooping plant’s health.  Later that night, Seymour finds out the plant need human blood to sustain itself and, fearing the loss of his job and the added loss of Audrey, he feeds it drops of his own blood.  The plant thrives on this diet, which of course creates a difficult situation for Seymour.  Curious customers are lured to the shop to see this wondrous plant and for the first time, Mushnick’s making money!  The now-anemic Seymour learns from the plant (voiced by writer Charles B. Griffith) that it needs to be fed human flesh and, as a confused Seymour wanders beside some train tracks, in frustration he throws a rock which accidentally kills a man.  Guilt-ridden but resourceful, Seymour takes the body back to the shop and feeds the parts to Audrey 2.  This terrible act is seem by Mushnick who intends to turn Seymour over to the police but, in his greed, procrastinates.

Seymour develops a toothache and goes to sadistic dentist Dr. Farb (John Shaner), who forcefully tries to remove several of Seymour’s teeth.  Grabbing a sharp instrument, Seymour fights back and accidentally stabs to death the dentist then feeds the body parts to Audrey 2.  Enter two homicide detectives, Sgt. Joe Fink (Wally Campo) and his assistant Frank Stoolie (Jack Warford) who questions the visibly nervous Mushnick about the recent disappearances but they decide Mushnick knows nothing and depart.  By now, Audrey 2 has grown several feet taller and is beginning to bud as does Seymour and Audrey’s romance.  One night as Mushnick is staying with the plant while Seymour and Audrey go on a date, a robber (played by Charles B. Griffith) breaks into the shop and demands money.  Mushnick tells him the money is kept in the plant and, when the robber goes to look, he falls into the plant’s mouth and is eaten.  Seymour, depressed that his plant has been the cause of so many deaths, goes for a midnight stroll and is perused by a rather relentless streetwalker, whom he kills in desperation and feeds to Audrey 2.

Still lacking clues to the mysterious disappearances, Fink and Stoolie plan to attend a special sunset celebration at the shop during which Seymour will receive a trophy from a horticulturist society and Audrey 2’s buds are expected to open.  But when they do open, each has the face of one of the victims.  Terrified, Seymour runs from the shop with Fink and Stoolie in hot pursuit.  Seymour loses them in a junkyard and later returns to the shop where he grabs a knife and, leaping into the plant’s mouth, kills it.  When Audrey, Mushnick and the cops return to the shop, they see the plant begin to wither.  It’s one final bud opens and within is Seymour’s face which pitifully declares, “I didn’t mean it” before drooping over.  The End.

LITTLE SHOP OF HORRORS 1960 trailer:

http://www.youtube.com/watch?v=amlXKaqk2jg

LITTLE SHOP OF HORRORS was released August 5, 1960 as the second half of a double-feature with Mario Bava’s BLACK SUNDAY and re-released a year later in a double-feature with THE LAST WOMAN ON EARTH.  The estimated budget listed in The Internet Data Base is $27,000 but Corman remembers it as $30,000 and other sources place it’s budget as low as $22,000 to a high of $100,000.  No box office records exist for LITTLE SHOP but in his book How I Made A Hundred Movies In Hollywood And Never Lost A Dime, Roger Corman states ““It was a let-down to make back the $30,000 negative cost with just a modest profit” and he didn’t copyright the movie, which has now gone into public domain.

The film’s popularity grew during the 1960-70’s with local horror hosts featuring it on their television programs.  Interest in the movie rekindled and it 1982, it became a hit off-Broadway horror rock musical called Little Shop of Horrors.  That later became a hit movie of the same title in 1986, directed by Frank Oz and starring Rick Moranis, Ellen Greene, Steve Martin, Vincent Gardenia, James Belushi, John Candy, Bill Murray, Christopher Guest with Levi Stubbs, one of the original Four Tops singing group, voicing Audrey 2.  Packed with snappy musical numbers, written by Academy Award-winning song-smith Miles Goodman, and featuring energetic chorography by Jerry Zaks and Vince Pesce, the film became a moderate hit, garnering a box office of $38 million on a budget of $25 million but became a smash hit when released on home video.

LITTLE SHOP was nominated for two Academy Awards and one Golden Globe Award.  LITTLE SHOP also became the first DVD to be recalled due to content.  In 1998, Warner Brothers released a DVD that contained the approximately 23-minute original ending but it was in black and white without sound.  This angered distributor Geffen and the DVDs were pulled from store shelves within days and replaced with a second edition.  The discs that contain the original black and white footage are considered collector’s items, selling for as much as $150.00 on EBay.  But, the saga of LITTLE SHOP does not end there!  In 1991, it became the plot of a short-lived animated television show titled LITTLE SHOP in which a nebbish junior-high student named Seymour owns a man-eating plant named Audrey Jr.

LITTLE SHOP OF HORRORS 1986 trailer:

http://www.youtube.com/watch?v=rUC1nnZy3E8

LITTLE SHOP OF HORRORS which began as a little movie whose director has so little faith in its survival that he didn’t even copyright it has become big business.  It was announced in April 2009 that Declan O’Brien (“Sharktopus,” “Wrong Turn: Bloody Beginnings”) would helm yet another remake of LITTLE SHOP.  However, in an interview with Bloody Disgusting.com, Declan declared his version “won’t be a musical ... it’s will be dark.”  As of this writing, Declan’s version is still on the back burner.  On May 4, 2012, Warner-Brothers announced it’s in the planning stages of a remake of LITTLE SHOP OF HORRORS and has hired “Glee” co-producer Roberto Aguirre-Sacasa (“Spider Man: Turn Off the Dark” and MGM/ Screen Gems remake of “Carrie”) to write the script.  Mark Platt (“Drive”) will co-produce.  In addition, Variety reports that THE DARK KNIGHT RISES star Joseph Gordon-Levitt is circling the lead role of nerdy Seymour Krelboyne.  With the producer of Fox’s hit TV series “Glee” helming, it’s a safe bet that this version will be a restyling of the 1986 Frank Oz musical version.  No date has been set yet for the principle shooting schedule and no actors have yet been cast.

Five decades have passed since Roger Corman decided to use some old standing sets to film a quickie movie, and what a phenomenon that quirky, dark comedy THE LITTLE SHOP OF HORRORS has become!  Lauded by film critics ... Rotten Tomatoes gives it a 91% freshness rating ... and laughed at by millions of viewers, it’s been released with a commentary track by Mystery Science Theater 3000’s Michael J. Nelson and in 2009 was released by Rifftrax with Nelson and fellow MST3K cast members Kevin Murphy and Bill Corbett.  Legend’s colorized version is also available from Amazon Video on Demand.  Apparently, there is no stopping the phenomenon that is THE LITTLE SHOP OF HORRORS.

MSTjunkie

DVD Review: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET Two-Disc Collector’s Edition

Title:  SWEENEY TODD: THE DEMON BARBER OF FLEET STREET Two-Disc Collector’s Edition

Year of Release—Film:  2007

Year of Release—DVD:  2008

DVD Label:  Warner Home Video

           When I first heard that Tim Burton was in production on SWEENEY TODD, I thought that he was remaking the 1936 British production that starred Tod Slaughter.  An odd choice, perhaps, but then Burton’s made a career out of odd choices.  The casting of Johnny Depp as the demon barber only heightened my interest, as I’ve become much more appreciative of his abilities as an actor in the last few years.  Still, I must admit that it wasn’t very high on my radar for the year or so that it in production.

Then I caught the first trailer released for the film, the one featuring Depp performing Epiphany, and thought, “What the Hell?  Is this a musical?”  SWEENEY TODD, a musical?  I thought that whatever weird circuitry lay in Burton’s mind, something had finally overloaded a breaker.  Who produces a singing, dancing musical about a throat-slashing barber, and his mistress who bakes his victims into pies? 

As you may have guessed by now, it would be a gross understatement to say that I’m not a big fan of musical theater.  In fact, prior to viewing this DVD, I had no idea that it was based on a long-established Broadway musical by Stephen Sondheim, a man that I’m familiar with solely by virtue of his mention in the film SMOKEY AND THE BANDIT.

Thus it was that Burton’s project, and my interest in it, promptly retreated to a back corner of my mind.  Other movies came and went, and frankly, I wasn’t going to waste time keeping track of a musical I’d probably never see.  I had more important things to follow.

Not too long ago, however, I received the DVD from a friend as a gift.  I had heard enough positive reports of this movie from others to pique my interests, and decided to give it a try.

I must say that, whatever I was expecting… this wasn’t it.  From the first scene, as Todd sings No Place like London, one gets the distinct impression that, while this is indeed a musical, it’s a Tim Burton musical, which means it will be unlike anything you’ve seen before.  By the time Todd has his run in with rival barber Pirelli, (a splendid performance from Sacha Baron Cohen…) I was hooked. 

The story is told in a way that transforms this from a music hall entertainment, which were the originations of the Sweeney Todd legends, into an operatic tragedy akin to Wagner or Verdi.  The music, by Sondheim, is terrific, and the darkness of Burton’s imagination suits it perfectly.  I can’t say how well Burton captured the original stage production, but he flawlessly compliments the music.  While it’s not my usual type of musical fare, I must admit several of the songs stayed with me for some time, most notably the duet Depp sings with Alan Rickman, portraying Todd’s nemesis Judge Turpin.  Their Pretty Women is a beautiful song, performed competently by two non-singers.  Depp also shines on My Friends, and co-star Helena Bonham Carter is pushed to the limit with By the Sea, by all accounts a difficult piece even for trained vocalists.

The cast is superb, particularly the leads.  Depp continues to impress me as he continues to demonstrate that his “pretty-boy”, 21 JUMP STREET days are well behind him.  His ability to totally become his character, to dedicate himself fully to a role is nothing short of obsessive, and he portrays Todd’s obsession, his thirst for revenge, perfectly.  Bonham Carter is also excellent as Mrs. Lovett, Todd’s paramour and partner in crime; she disposes of his victims by baking them into meat pies to feed her hungry clientele.  Rickman, as Judge Turpin, is especially well-cast; he has an ability to project an evil presence that is unmatched in today’s cinema, and is very reminiscent of Vincent Price at his best.

The supporting cast is good, especially the aforementioned Cohen and Timothy Spall as the Beadle.  Spall, best known as Peter Pettigrew from the HARRY POTTER films, is superbly slimy as the henchman of Turpin, whether fulfilling his role as a flattering sycophant or in his official capacity as the Judge’s enforcer.  Jayne Wisener, as Todd’s daughter Johanna, and Jamie Campbell Bower, as Anthony, the young acquaintance of Todd who falls in love with her, are good… not spectacular, but they turn in a competent job.

Visually, the film is pure Burton at his best.  More than any current director, Burton brings a definite style and look to his films, a presentation that’s as unique and identifiable as a Salvador Dali painting… and just as surreal.  It doesn’t appeal to everyone, but to those who are fans of Burton’s work, it’s familiar and welcome.

My DVD is the two-disc Collector’s Edition, and it comes loaded with special features.  There are interviews with Sondheim, Burton, Depp, Bonham Carter… virtually all the important members of the production are included.  There are features on the music, and on the history of the legend of Sweeney Todd, which I found especially fascinating.  If you want the movie on DVD, then this is the DVD to own.

Ordinarily for something this unusual I would suggest renting before you buy, but I feel safe in giving this one a full Buy recommendation.  This film will one day be considered a classic, and I think that anyone who gives it half a chance, as I did, will love it.

DVD Review: SWEENEY TODD, THE DEMON BARBER OF FLEET STREET Two-Disc Collector’s Edition

Title: SWEENEY TODD: THE DEMON BARBER OF FLEET STREET Two-Disc Collector’s Edition

Year of Release—Film: 2007

Year of Release—DVD: 2008

DVD Label: Warner Home Video



When I first heard that Tim Burton was in production on SWEENEY TODD, I thought that he was remaking the 1936 British production that starred Tod Slaughter. An odd choice, perhaps, but then Burton’s made a career out of odd choices. The casting of Johnny Depp as the demon barber only heightened my interest, as I’ve become much more appreciative of his abilities as an actor in the last few years. Still, I must admit that it wasn’t very high on my radar for the year or so that it in production.

Then I caught the first trailer released for the film, the one featuring Depp performing Epiphany, and thought, “What the Hell? Is this a musical?” SWEENEY TODD, a musical? I thought that whatever weird circuitry lay in Burton’s mind, something had finally overloaded a breaker. Who produces a singing, dancing musical about a throat-slashing barber, and his mistress who bakes his victims into pies?

As you may have guessed by now, it would be a gross understatement to say that I’m not a big fan of musical theater. In fact, prior to viewing this DVD, I had no idea that it was based on a long-established Broadway musical by Stephen Sondheim, a man that I’m familiar with solely by virtue of his mention in the film SMOKEY AND THE BANDIT.

Thus it was that Burton’s project, and my interest in it, promptly retreated to a back corner of my mind. Other movies came and went, and frankly, I wasn’t going to waste time keeping track of a musical I’d probably never see. I had more important things to follow.

Not too long ago, however, I received the DVD from a friend as a gift. I had heard enough positive reports of this movie from others to pique my interests, and decided to give it a try.
I must say that, whatever I was expecting… this wasn’t it. From the first scene, as Todd sings No Place like London, one gets the distinct impression that, while this is indeed a musical, it’s a Tim Burton musical, which means it will be unlike anything you’ve seen before. By the time Todd has his run in with rival barber Pirelli, (a splendid performance from Sacha Baron Cohen…) I was hooked.

The story is told in a way that transforms this from a music hall entertainment, which were the originations of the Sweeney Todd legends, into an operatic tragedy akin to Wagner or Verdi. The music, by Sondheim, is terrific, and the darkness of Burton’s imagination suits it perfectly. I can’t say how well Burton captured the original stage production, but he flawlessly compliments the music. While it’s not my usual type of musical fare, I must admit several of the songs stayed with me for some time, most notably the duet Depp sings with Alan Rickman, portraying Todd’s nemesis Judge Turpin. Their Pretty Women is a beautiful song, performed competently by two non-singers. Depp also shines on My Friends, and co-star Helena Bonham Carter is pushed to the limit with By the Sea, by all accounts a difficult piece even for trained vocalists.

The cast is superb, particularly the leads. Depp continues to impress me as he continues to demonstrate that his “pretty-boy”, 21 JUMP STREET days are well behind him. His ability to totally become his character, to dedicate himself fully to a role is nothing short of obsessive, and he portrays Todd’s obsession, his thirst for revenge, perfectly. Bonham Carter is also excellent as Mrs. Lovett, Todd’s paramour and partner in crime; she disposes of his victims by baking them into meat pies to feed her hungry clientele. Rickman, as Judge Turpin, is especially well-cast; he has an ability to project an evil presence that is unmatched in today’s cinema, and is very reminiscent of Vincent Price at his best.

The supporting cast is good, especially the aforementioned Cohen and Timothy Spall as the Beadle. Spall, best known as Peter Pettigrew from the HARRY POTTER films, is superbly slimy as the henchman of Turpin, whether fulfilling his role as a flattering sycophant or in his official capacity as the Judge’s enforcer. Jayne Wisener, as Todd’s daughter Johanna, and Jamie Campbell Bower, as Anthony, the young acquaintance of Todd who falls in love with her, are good… not spectacular, but they turn in a competent job.

Visually, the film is pure Burton at his best. More than any current director, Burton brings a definite style and look to his films, a presentation that’s as unique and identifiable as a Salvador Dali painting… and just as surreal. It doesn’t appeal to everyone, but to those who are fans of Burton’s work, it’s familiar and welcome.

My DVD is the two-disc Collector’s Edition, and it comes loaded with special features. There are interviews with Sondheim, Burton, Depp, Bonham Carter… virtually all the important members of the production are included. There are features on the music, and on the history of the legend of Sweeney Todd, which I found especially fascinating. If you want the movie on DVD, then this is the DVD to own.

Ordinarily for something this unusual I would suggest renting before you buy, but I feel safe in giving this one a full Buy recommendation. This film will one day be considered a classic, and I think that anyone who gives it half a chance, as I did, will love it.