After the wholesome pair profess their love through an opening song, their car breaks down in the woods, and they seek refuge in a towering castle nearby. Greeting them at the door is a ghoulish butler named Riff Raff (Richard O'Brien), who introduces them to a bacchanalian collection of partygoers dressed in outfits from some sort of interplanetary thrift shop. The host of this gathering is a transvestite clad in lingerie, Dr. Furter (Tim Curry), a mad scientist who claims to be from another planet. With assistants Columbia (Nell Campbell) and Magenta (Patricia Quinn) looking on, Frank unveils his latest creation - - a figure wrapped in gauze and submerged in a tank full of liquid. With the addition of colored dyes and some assistance from the weather, Frank brings to life a blonde young beefcake wearing nothing but skimpy shorts, who launches into song in his first minute of life. Just when Brad and Janet think things couldn't get any stranger, a biker (Meat Loaf) bursts onto the scene to reclaim Columbia, his ex- girlfriend. Tim Curry will jump to the left one more time in the Fox revival of “Rocky Horror Picture Show,” Fox Television Group chairmen and CEOs Gary Newman and Dana. Rocky Horror Picture Show audience participation script. The Rocky Horror Picture Show, a parody of science fiction and “B” grade horror films, was a popular cult. The Rocky Horror Picture Show ----- SCIENCE FICTION/DOUBLE FEATURE Usherette: Michael Rennie was. The Rocky Horror Picture Show è un film del 1975 diretto da Jim Sharman e tratto dallo spettacolo teatrale The Rocky Horror Show del 1973, di Richard O'Brien. Click to share on Facebook (Opens in new window) Click to share on Twitter (Opens in new window) Click to share on Tumblr (Opens in new window) Click to share on. Full cast and crew for the film, company credits, external reviews, plot summary, memorable quotes and merchandising links. The music of The Rocky Horror Show and The Rocky Horror Picture Show, including cast albums, soundtracks, and cover songs. Discography, song lyrics, mp3 sound files. The Rocky Horror Picture Show (1975) Quotes on IMDb: Memorable quotes and exchanges from movies, TV series and more. ACADEMY AWARDS BEST PICTURE* WINNERS (*originally known as Best Production) 1960 - Present Part 2 : Note: Oscar® and Academy Awards® and Oscar® design. When Frank kills the biker, it's clear that Brad and Janet will be guests for the night, and that they may be next on Frank's list - - whether for murder or carnal delights is uncertain. And just what is that mystery meat they're eating for dinner, anyway? In addition to playing Riff Raff, O'Brien wrote the catchy songs, with John Barry and Richard Hartley composing the score. Lyric Theatre of Oklahoma. The Astonishingly Non- Nonsensical Plot of The Rocky Horror Picture Show. It’s all haunted mansions and secret labs, corsets and glitter, sex and the destruction of (arguably pretty boring) innocence—but what are you supposed to get out of The Rocky Horror Picture Show besides a really good time? The midnight showings are legend, the Time Warp is played at practically every prom and wedding you go to, yet it’s hard to find the meaning of this musical outside of outrageousness for outrageousness’ sake. Plus an homage to 5. The first time I watched it as a teenager (at the behest of a more mature friend, isn’t that always the way?) my reaction boiled down to “. The first stage show production was in 1. And Doctor Frank- N- Furter’s journey heavily mirrors the politics and taboos explored during those years. Take Frank- N- Furter on his own: he is an all- singing, all- vamping, bisexual transvestite from another planet. He is trying to create the perfect man for himself, a man mainly conceived as the ultimate eye candy. He laughs off the wide- eyed Brad and Janet, enjoying their squirmish induction into his cadre of all- night partying Transylvanians. This persona borrows heavily from David Bowie’s creation of Ziggy Stardust, a rock and roll god sent from another planet to bring us music from the stars. Bowie claimed to be bisexual early in that decade, and this element was folded into the Ziggy mythos with songs that contained telling imagery or outright spoke the message, such as “Width of a Circle” and “John, I’m Only Dancing.” Though the Ziggy figure was fond of jumpsuits, 1. Bowie in long dresses with tresses down past his shoulder blades, so having Frank in a corset and stockings is not much of a logic leap. Though the glam rock movement was popular and fierce while it lasted, it wasn’t long before it went out of fashion, the eyeliner and androgyny traded for safety pins and slam dancing as punk emerged a few years later. It gives Rocky Horror a layer of allegory that isn’t necessarily prevalent on the first viewing. It’s easy to spot the shout outs to Golden Age sci- fi and monster flicks (Frank’s insistence that he wants to be dressed like Fay Wray, the heroine of King Kong, also mentioned in the opening number “Science Fiction Double Feature”), it’s easy to hear the 5. Of course, if we take a closer peek. Eddie’s song “Hot Patootie — Bless My Soul” harkens back to the beginning of rock’n’roll, sock hops and greased hair and poodle skirts in abundance. Eddie’s nostalgia makes him seem innocent, a sweet soul caught in his long- abandoned era, and that innocence is given over to Rocky via transplant, humanizing what could have been just a very well- toned monster. Then Dr. Frank takes up an axe and hunts Eddie down in front of the house guests. In case that wasn’t clear: alien science cut up milkshakes and burgers, proud sexual exploration laid waste to fumblings in the back of cars, and glam just flat- out murdered good ol’ fashioned rock’n’roll. The creation of Rocky is a perfect metaphor for what glam was all about; the sincerity of rock at its inception—provided or, perhaps you might say, stolen from Eddie—combined with an admiration for youthful human beauty and a preoccupation with sexual desire. As Frank says to Rocky after Eddie is dead, “Don’t be upset. It was a mercy killing! He had a certain naive charm, but no. It was about the music, yes, but about physical expressions of identity just as much. Yet what powers this lifestyle is also what sabotages it, as we see Frank- N- Furter ruin any Leave It To Beaver notions that Brad and Janet may have had about their lives. He seduces both of them successfully, encouraging the adventurousness that the glam era touted loud. But opening Janet’s mind to new experiences burns the doctor when she ends up showing Rocky what she’s learned (it is notable that in the stage show Janet enters the fling in revenge on Frank and Brad for sleeping together). Frank- N- Furter is supposed to be in charge of the evening’s proceedings, but things quickly get well out of hand. In congruence, Ziggy Stardust (and the more American version of the persona, Aladdin Sane,) quickly became too much for David Bowie to handle, and he dropped the character in 1. Ziggy made on his time and his life. He lost control of it, similar to the way that Frank loses it in the show’s latter half, when he ends up forcing everyone under his control for one final performance. Columbia’s title in the script is “a groupie,” with all the weight that entails, and her disillusionment coming before anyone else’s is a telling harbinger; Frank loses “the faithful” first. Rocky now only trusts lust, Brad is awash in a newfound feeling of sexiness, and Janet is enjoying the sincerity that Frank’s desires allow them all. It is left to Riff- Raff and Magenta to break up the party, and do what should have been done from the start: call quits on their alien mission and take Frank back to Transylvania (the galaxy that hosts their home planet). As Riff tells him, “Frank- N- Furter, it’s all over / your mission is a failure / your lifestyle’s too extreme.” The metaphor comes clear—it’s the vote of extremism that really was the nail in the coffin for this artistic era; though glam may have preached new ideas and identities to a generation of young people, it couldn’t sustain itself. It was too much exploration all at once, and was destined to fade away. At the end of the play, we see Brad and Janet attempting to piece together what happened that night in the song “Superheroes,” to determine what it all means, but they don’t come close to managing it. They are left changed but confused, uncertain if the experience has any bearing on their future. And the audience feels much the same. It makes a bit more sense of the somber note the play ends on—the Criminologist (named so perhaps because he is someone fit to judge the crimes committed?) has a message for us all in the final moments, that humans are “lost in time / lost in space / and meaning.” He is pointing out our failings, but maybe also applauding our need to understand and explore all the same. I’m not saying that The Rocky Horror Picture Show is pure art and allegory, and that every future viewing demands reverence and careful dissection. It is also a musical primarily centered around fun, around ostentatiousness and madness and good times for all. But if anyone ever asks you what on earth the whole thing means, then maybe this could prove a useful footnote. It’s a fiasco of homage, one of the most successful examples I can think of, and as such, deserves to be picked apart one delicious piece at a time. Emily Asher- Perrin is astonished that she got through this whole piece without preying on anyone’s antici. You can bug her on Twitter and read more of her work here and elsewhere.
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