The Rocky Horror Picture Show

This article is about the 1975 motion picture. For other uses, see The Rocky Horror Picture Show (disambiguation).

The Rocky Horror Picture Show

Theatrical release poster
Directed by Jim Sharman
Produced by
Screenplay by
Based on The Rocky Horror Show
by Richard O'Brien
Starring
Music by
Cinematography Peter Suschitzky
Edited by Graeme Clifford
Production
company
Distributed by 20th Century Fox
Release dates
  • 14 August 1975 (1975-08-14)
Running time
 100 minutes[1][2]
Country
  • United Kingdom[3]
  • United States[3]
Language English
Budget $1.4 million[4]
Box office $140.2 million[5]

The Rocky Horror Picture Show is a 1975 musical comedy horror film directed by Jim Sharman. The screenplay was written by Sharman and Richard O'Brien based on the 1973 musical stage production The Rocky Horror Show, music, book, and lyrics by O'Brien. The production is a parody tribute to the science fiction and horror B movies of the 1930s through early 1970s. The film stars Tim Curry, Susan Sarandon, and Barry Bostwick along with cast members from the original Royal Court Theatre, Roxy Theatre, and Belasco Theatre productions.

The story centres on a young engaged couple whose car breaks down in the rain near a castle where they seek a telephone to call for help. The castle is occupied by strangers in elaborate costumes celebrating an annual convention. They discover the head of the house is Frank N. Furter, an apparent mad scientist who actually is an alien transvestite who creates a living muscle man in his laboratory. The couple is seduced separately by the mad scientist and eventually released by the servants who take control.

The film was shot in the United Kingdom at Bray Studios and on location at an old country estate named Oakley Court, best known for its earlier use by Hammer Film Productions. A number of props and set pieces were reused from the Hammer horror films. Although the film is both a parody and tribute to many of the kitsch science fiction and horror films, costume designer Sue Blane conducted no research for her designs. Blane stated that costumes from the film have directly impacted the development of punk rock fashion trends such as ripped fishnets and dyed hair.

Although largely critically panned on initial release, it soon became known as a midnight movie when audiences began participating with the film at the Waverly Theater in New York City in 1976. Audience members returned to the cinemas frequently and talked back to the screen and began dressing as the characters, spawning similar performance groups across the United States. At almost the same time, fans in costume at the King's Court Theater in Pittsburgh began performing alongside the film. This "shadow cast" mimed the actions on screen above and behind them, while lip-syncing their character's lines. Still in limited release four decades after its premiere, it is the longest-running theatrical release in film history. It is often shown close to Halloween. Today, the film has a large international following. It was selected for preservation in the United States National Film Registry by the Library of Congress in 2005.

The film's creative team also produced Shock Treatment in 1981, a standalone feature using the characters of Brad and Janet and featuring some of the same cast.

Plot

A criminologist narrates the tale of the newly engaged couple Brad Majors and Janet Weiss who find themselves lost and with a flat tire on a cold and rainy late November evening, somewhere near Denton, Ohio. Seeking a telephone, the couple walk to a nearby castle where they discover a group of strange and outlandish people who are holding an Annual Transylvanian Convention. They are soon swept into the world of Dr. Frank N. Furter, a self-proclaimed "sweet transvestite from Transsexual, Transylvania". The ensemble of convention attendees also includes servants Riff Raff, his sister Magenta, and a groupie named Columbia.

In his lab, Frank claims to have discovered the "secret to life itself". His creation, Rocky, is brought to life. The ensuing celebration is soon interrupted by Eddie (an ex-delivery boy, both Frank and Columbia's ex-lover, as well as partial brain donor to Rocky) who rides out of a deep freeze on a motorcycle. Eddie then proceeds to seduce Columbia, get the Transylvanians dancing and singing and intrigue Brad and Janet. But when Rocky starts dancing and enjoying Eddie's performance, Frank goes into a jealous rage, chases after Eddie, corners him and kills him with a pickaxe. Columbia screams in horror and is devastated by Eddie's death. Frank then tries to justify killing Eddie as a "mercy killing" to Rocky and they depart to the bridal suite.

Brad and Janet are shown to separate bedrooms where each is visited and seduced by Frank, who poses as Brad (when visiting Janet) and then as Janet (when visiting Brad). Janet, upset and emotional, wanders off to look for Brad, who she discovers, via a television monitor, is in bed with Frank. She then discovers Rocky, cowering in his birth tank, hiding from Riff Raff, who has been tormenting him. While tending to his wounds, Janet becomes intimate with Rocky, as Magenta and Columbia watch from their bedroom monitor.

After discovering that his creation is missing, Frank returns to the lab with Brad and Riff Raff, where Frank learns that an intruder has entered the building. Brad and Janet's old high school science teacher, Dr. Everett Scott, has come looking for his nephew, Eddie. Frank suspects that Dr. Scott investigates UFOs for the government. Upon learning of Brad and Janet's connection to Dr. Scott, Frank suspects them of working for him. Frank, Dr. Scott, Brad, and Riff Raff then discover Janet and Rocky together under the sheets in Rocky's birth tank, upsetting Frank and Brad. Magenta interrupts the reunion by sounding a massive gong and stating that dinner is prepared.

Rocky and the guests share an uncomfortable dinner, which they soon realize has been prepared from Eddie's mutilated remains. Janet runs screaming into Rocky's arms and is slapped and chased through the halls of the castle by a jealous Frank. Janet, Brad, Dr. Scott, Rocky, and Columbia all meet in Frank's lab, where Frank captures them with the Medusa Transducer, transforming them into nude statues. After dressing them in cabaret costume, Frank "unfreezes" them, from which they spontaneously perform a live cabaret floor show with Frank as the leader.

Riff Raff and Magenta interrupt the performance, revealing themselves and Frank to be aliens from the planet Transsexual in the galaxy of Transylvania. They stage a coup and announce a plan to return to their home planet. In the process, they kill Columbia, Rocky, and Frank, who has "failed his mission". They release Brad, Janet, and Dr. Scott, then depart by lifting off in the castle itself. The survivors are then left crawling in the dirt, and the narrator concludes that the human race is equivalent to insects crawling on the planet's surface.

Cast

Production

Concept and development

Little Nell, Patricia Quinn, Tim Curry, and Richard O'Brien in "The Rocky Horror Picture Show". All were in the original stage show. Production design by Brian Thomson, costumes by Sue Blane, and musical arrangement by Richard Hartley, all reunited alumni of the London stage production.

Richard O'Brien was living as an unemployed actor in London during the early 1970s. He wrote most of The Rocky Horror Show during one winter just to occupy himself.[6][7] Since his youth, O'Brien had loved science fiction and B horror movies. He wanted to combine elements of the unintentional humour of B horror movies, portentous dialogue of schlock-horror, Steve Reeves muscle flicks, and fifties rock and roll into his musical.[8]

O'Brien showed a portion of the unfinished script to Australian director Jim Sharman, who decided to direct it at the small experimental space Upstairs at the Royal Court Theatre, Sloane Square, Chelsea, London, which was used as a project space for new work.[6] O'Brien had appeared briefly in Andrew Lloyd Webber's Jesus Christ Superstar, directed by Sharman, and the two also worked together in Sam Shepard's The Unseen Hand. Sharman would bring in production designer Brian Thomson.[9] The original creative team was then rounded out by costume designer Sue Blane, musical director Richard Hartley, and stage producer Michael White, who was brought in to produce. As the musical went into rehearsal, the working title, They Came from Denton High, was changed just before previews at the suggestion of Sharman to The Rocky Horror Show.[6][10]

Having premiered in the small sixty-seat Royal Court Theatre, it quickly moved to larger venues in London, transferring to the 230-seat Chelsea Classic Cinema on Kings Road on 14 August 1973, before finding a quasi-permanent home at the 500-seat King's Road Theatre from 3 November 1973, running for six years.[11] The musical made its U.S. debut in Los Angeles in 1974 before being played in New York City as well as other cities.[9] Producer and Ode Records owner Lou Adler attended the London production in the winter of 1973, escorted by friend Britt Ekland. He immediately decided to purchase the U.S. theatrical rights. His production would be staged at his Roxy Theatre in L.A.[12] In 1975, The Rocky Horror Show premiered on Broadway at the 1,000-seat Belasco Theatre.[13]

Filming and locations

Oakley Court

The film was shot at Bray Studios and Oakley Court, a country house near Maidenhead, Berkshire, England, and at Elstree Studios[14] for post production,[15] from 21 October to 19 December 1974. Oakley Court, built in 1857 in the Victorian Gothic style, is known for a number of Hammer films.[16][17] Much of the location shooting took place there, although at the time the manor was not in good condition.[18] Fox insisted on casting the two characters of Brad and Janet with American actors, Barry Bostwick and Susan Sarandon.[9] Filming took place during autumn, which made conditions worse. During filming, Sarandon fell ill with pneumonia.[8] Filming of the laboratory scene and the title character's creation occurred on 30 October 1974.[19]

The film is both a parody and tribute to many of the science fiction and horror movies from the 1930s up to the 1970s.[6] The film production retains many aspects from the stage version such as production design and music, but adds new scenes not featured in the original stage play.[9] The film's plot, setting, and style echo those of the Hammer Horror films, which had their own instantly recognizable style (just as Universal Studios' horror films did).[20] The originally proposed opening sequence was to contain clips of various films mentioned in the lyrics, as well as the first few sequences shot in black and white, but this was deemed too expensive and scrapped.[9]

Costumes, make-up, and props

In the stage productions, actors generally did their own make-up; however, for the film, the producers chose Pierre La Roche, who had previously been a make-up artist for Mick Jagger, to redesign the make-up for each character.[21] Production stills were taken by rock photographer Mick Rock, who has published a number of books from his work.[22] In Rocky Horror; From Concept to Cult, designer Sue Blane discusses the Rocky Horror costumes' influence on punk music style. "[It was a] big part of the build-up [to punk]." She states that ripped fishnet stockings, glitter, and coloured hair were directly attributable to Rocky Horror.[6]

Gold sequined swallow-tail coat and top hat created and worn by fan Mina Credeur of Houston, Texas.

Some of the costumes from the film had been originally used in the stage production. Props and set pieces were reused from old Hammer Horror productions and others. The tank and dummy used for Rocky's birth originally appeared in The Revenge of Frankenstein (1958). These references to earlier productions, in addition to cutting costs, enhanced the cult status of the film.[23]

Costume designer Sue Blane was not keen on working for the film until she became aware that Curry, an old friend, was committed to the project. Curry and Blane had worked together in Glasgow's Citizens Theatre in a production of The Maids, where Curry had worn a woman's corset in the production. Blane arranged it with the theatre to loan her the corset from the other production for Rocky Horror.[24] Blane admits that she did not conduct research for her designing, had never seen a science fiction film, and is acutely aware that her costumes for Brad and Janet may have been generalizations.

"When I designed Rocky, I never looked at any science fiction movies or comic books. One just automatically knows what spacesuits look like, the same way one intuitively knows how Americans dress. I had never been to the United States, but I had this fixed idea of how people looked there. Americans wore polyester so their clothes wouldn't crease, and their trousers were a bit too short. Since they're very keen on sports, white socks and white T-shirts played an integral part in their wardrobe. Of course, since doing Rocky I have been to the United States and admit it was a bit of a generalization, but my ideas worked perfectly for Brad and Janet."[24]

The budget for the film's costumes was $1,600,[24] far more than the stage production budget, but having to double up on costumes for filming was expensive. For filming, corsets for the finale had to be doubled for the pool scene, with one version drying while the other was worn on set. While many of the costumes are exact replicas from the stage productions, other costumes were new to filming, such as Columbia's gold sequined swallow-tail coat and top hat and Magenta's maid's uniform.[24]

Blane was amazed by the recreation and understanding of her designs by fans.[24] When she first heard that people were dressing up, she thought it would be tacky, but was surprised to see the depth to which the fans went to recreate her designs. Rocky Horror fan Mina Credeur, who designs costumes and performed as Columbia for Houston’s performance group, states that "the best part is when everyone leaves with a big smile on their face", noting that there's "such a kitschiness and campiness that it seems to be winking at you".[25] The film still plays at many theatre locations and Rocky Horror costumes are often made for Halloween, although many require much time and effort to make.[26]

Title sequence

The iconic "Lips" poster, with Lorelei Shark's lips, a parody of the 1975 film poster for Jaws

The film starts with the screen fading to black and oversized, disembodied female lips appear overdubbed with a male voice,[23][27] establishing the androgynous theme to be repeated as the film unfolds.[28] The opening scene and song, "Science Fiction/Double Feature", consists of the lips of Patricia Quinn (who appears in the film later as the character Magenta), but has the vocals of actor and Rocky Horror creator, Richard O'Brien (who appears as Magenta's brother Riff Raff). The lyrics reference science fiction and horror films of the past and list several film titles from the 1930s to the 1970s, including The Day the Earth Stood Still, Flash Gordon, The Invisible Man, King Kong, It Came from Outer Space, Doctor X, Forbidden Planet, Tarantula, The Day of the Triffids, Curse of the Demon, and When Worlds Collide.[6] The disembodied lips of model Lorelei Shark[29] are featured on posters and other merchandise for the film, with the tagline "A Different Set of Jaws", a spoof of the poster for the film Jaws (which was also produced in 1975).[23]

Music

The soundtrack was released in 1975 by Ode Records and produced by Richard Hartley. The album peaked at #49 on the Billboard 200 in 1978.[30] It reached No. 40 on the Australian albums chart[31] and No. 11 on the New Zealand albums chart.[32] The album is described as the "definitive version of the [Rocky Horror] score."[33]

  1. "Science Fiction/Double Feature" - The Lips (those of Patricia Quinn; voice of Richard O'Brien)
  2. "Dammit Janet" - Brad, Janet, and Chorus
  3. "There's a Light (Over at the Frankenstein Place)" - Janet, Brad, Riff Raff, and Chorus
  4. "The Time Warp" - Riff Raff, Magenta, The Criminologist, Columbia, and Transylvanians
  5. "Sweet Transvestite" - Frank
  6. "The Sword of Damocles" - Rocky and Transylvanians
  7. "I Can Make You a Man" - Frank with Brad, Janet, Riff Raff, Magenta, and Columbia
  8. "Hot Patootie – Bless My Soul" - Eddie and Transylvanians
  9. "I Can Make You a Man" (reprise) - Frank, Janet, and Transylvanians
  10. "Touch-a, Touch-a, Touch-a, Touch Me" - Janet with Magenta, Columbia, Rocky, Brad, Frank, and Riff Raff
  11. "Once in a While" (deleted scene) - Brad
  12. "Eddie" - Dr. Scott, The Criminologist, Janet, Frank, Rocky, Brad, Riff Raff, and Magenta
  13. "Planet Schmanet Janet (Wise Up Janet Weiss)" - Frank, Janet, Brad, and Dr. Scott
  14. "Rose Tint My World" - Columbia, Rocky, Janet, and Brad
  15. "Fanfare/Don't Dream It, Be It" - Frank with Brad, Janet, Rocky, and Columbia
  16. "Wild and Untamed Thing" - Frank with Brad, Janet, Rocky, Columbia, and Riff Raff
  17. "I'm Going Home" - Frank and Chorus
  18. "The Time Warp" (reprise) - Riff Raff and Magenta
  19. "Super Heroes" (only present in the original UK release) - Brad, Janet, and Chorus
  20. "Science Fiction/Double Feature" (reprise) - The Lips

Release

London release poster for August 14, 1975 premier

The film opened in the United Kingdom at Rialto Theater in London 14 August 1975 and in the United States on 26 September at the UA Westwood in Los Angeles, California. It did well at that location, but not elsewhere.[34] Before the midnight screenings' success, the film was withdrawn from its eight opening cities due to very small audiences, and its planned New York City opening on Halloween night was cancelled.[35] Fox re-released the film around college campuses on a double-bill with another rock music film parody, Brian De Palma's Phantom of the Paradise, but again it drew small audiences.[35]

With Pink Flamingos (1972) and Reefer Madness (1936) making money in midnight showings nationwide, a Fox executive, Tim Deegan, was able to talk distributors into midnight screenings,[28] starting in New York City on April Fools' Day of 1976.[35] The cult following started shortly after the film began its midnight run at the Waverly Theater in New York City.[34] Rocky Horror was not only found in the larger cities but throughout the United States where many attendees would get in free if they arrived in costume. The western division of the film's release included The U.A. Cinemas in Fresno and Merced, The Cinema J in Sacramento, California, and the Covell in Modesto. In New Orleans, an early organised performance group was active with the release there as well as in such cities as Pittsburgh, Pennsylvania, and Chicago (at the Biograph Theater). Before long nearly every screening of the film was accompanied by a live fan cast.[34]

Jan 19, 1978, opening at the UA Cinema, Merced, California

The film is considered to be the longest-running release in film history.[36] It has never been pulled by 20th Century Fox from its original 1975 release, and it continues to play in cinemas.[37][38]

Home media

A Super 8 version of selected scenes of the film was made available.[39] In 1983, Ode Records released "The Rocky Horror Picture Show, Audience Par-Tic-I-Pation Album", recorded at the 8th Street Playhouse. The recording consisted of the film's audio and the standardised call-backs from the audience.[40]

A home video release was made available in 1987 in the UK.[41] In the US, the film (including documentary footage and extras) was released on VHS in 1990, retailing for $89.95[42] and had its US broadcast premiere on the Fox Broadcasting Company, including audience participation edited into the film, on October 25, 1993.

The film was released on DVD in 2000 for the film's 25th anniversary. A 35th Anniversary edition Blu-ray was released in the US on October 19, 2010. The disc includes a newly created 7.1 surround sound mix, the original theatrical mono sound mix, and a 4K/2K image transfer from the original camera negative. In addition, new content featuring karaoke and a fan performance were included.[43]

Reception, reaction and legacy

Critical reception

Chicago Sun-Times critic Roger Ebert noted that when first released, The Rocky Horror Picture Show was "ignored by pretty much everyone, including the future fanatics who would eventually count the hundreds of times they'd seen it". He considered it more a "long-running social phenomenon" than a movie, rating it 2.5 out of 4 stars.[44] Bill Henkin noted that Variety thought that the "campy hijinks" of the film seemed labored, and also mentioned that the San Francisco Chronicle's John Wasserman, who had liked the stage play in London, found the film "lacking both charm and dramatic impact". Newsweek called the film "tasteless, plotless and pointless" in 1978.[45]

Review aggregator website Rotten Tomatoes gives the film a rating of 80% based on 41 reviews.[46] A number of contemporary critics find it compelling and enjoyable because of its offbeat and bizarre qualities; the BBC summarised: "for those willing to experiment with something a little bit different, a little bit outré, The Rocky Horror Picture Show has a lot to offer".[47] The New York Times called it a "low-budget freak show/cult classic/cultural institution" and considered the songs featured in the film to be "catchy".[48] Geoff Andrew of Time Out noted that the "string of hummable songs gives it momentum, Gray's admirably straight-faced narrator holds it together, and a run on black lingerie takes care of almost everything else", rating it 4 out of 5 stars.[49] Dave Kehr of Chicago Reader on the other hand considered the wit to be "too weak to sustain a film" and thought that the "songs all sound the same".[50]

In 2005, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".[51][52]

Cult phenomenon

New York City origins

Dori Hartley and Sal Piro at the Waverly Theatre in New York in 1977

The Rocky Horror Picture Show helped shape conditions of cult film's transition from art-house to grind-house style.[53] The film developed a cult following in 1976 at the Waverly Theatre in New York, which developed into a standardised ritual. According to J. Hoberman, author of Midnight Movies, it was after five months into the film's midnight run when lines began to be shouted by the audience. Louis Farese Jr., a normally quiet teacher who, upon seeing the character Janet place a newspaper over her head to protect herself from rain yelled, "Buy an umbrella, you cheap bitch". Originally Louis and other Rocky Horror pioneers including Amy Lazarus, Theresa Krakauskas, and Bill O'Brian did this to entertain each other, each week trying to come up with something new to make each other laugh. This quickly caught on with other theater goers and thus began this self-proclaimed "counter point dialogue", which became standard practice and was repeated nearly verbatim at each screening.[7] Performance groups became a staple at Rocky Horror screenings due in part to the prominent New York City fan cast.[34] The New York City cast was originally run by former schoolteacher and stand-up comic Sal Piro and his friend Dori Hartley. Dori was one of several performers in a flexible, rotating cast to portray the character of Frank N. Furter, shadowing the film above.[34] The performances of the audience was scripted and actively discouraged improvising, being conformist in a similar way to the repressed characters.[54]

On Halloween in 1976, people attended in costume and talked back to the screen, and by mid-1978, Rocky Horror was playing in over 50 locations on Fridays and Saturdays at midnight. Newsletters were published by local performance groups, and fans gathered for Rocky Horror conventions.[35] By the end of 1979, there were twice-weekly showings at over 230 theatres.[35] The National Fan Club was established in 1977 and later merged with the International Fan Club. The fan publication The Transylvanian printed a number of issues, and a semi-regular poster magazine was published as well as an official magazine.[53]

Los Angeles, Hollywood

D. Garrett Gafford and Terri Hardin, Tiffany Theater Hollywood, 1978

The Los Angeles area performance groups originated in 1977 at the Fox Theatre, where Michael Wolfson won a look-alike contest as Frank N. Furter, and won another at the Tiffany Theater on Sunset Boulevard. Wolfson's group eventually performed in all of the LA area theaters screening Rocky Horror, including the Balboa Theater in Balboa, The Cove at Hermosa Beach, and The Sands in Glendale. He was invited to perform at the Sombrero Playhouse in Phoenix, Arizona.

At the Tiffany Theatre, the audience performance cast had the theater's full cooperation; the local performers entered early and without charge. The fan playing Frank for this theatre was a transgender performer,[34] D. Garret Gafford, who was out of work in 1978 and trying to raise the funds for a gender reassignment while spending the weekends performing at the Tiffany.[55]

San Francisco

In 1978 San Francisco, Rocky Horror moved from an earlier location to the Strand Theatre located near the Tenderloin on Market Street.[56] The performance group there, Double Feature/Celluloid Jam, was the first to act out and perform almost the entire film, unlike the New York cast at that time. The Strand cast was put together from former members of an early Berkeley group, disbanded due to less than enthusiastic management. Frank N. Furter was portrayed by Marni Scofidio, who, in 1979, attracted many of the older performers from Berkeley. Other members included Mishell Erickson and her twin sister Denise Erickson as Columbia and Magenta, Kathy Dolan as Janet, and Linda "Lou" Woods as Riff Raff. The Strand group performed at two large science fiction conventions in Los Angeles and San Francisco, were offered a spot at The Mabuhay, a local punk club, and performed for children's television of Argentina.[34]

San Francisco's Strand Theatre, 1979. Linda Woods, Marni Scofidio, Denise Erickson, and Jim Curry

Fan following

Rocky Horror is one of the last few western rites left that pertain to the carnivalesque.[57] Annual Rocky Horror conventions are held in varying locations lasting days. Tucson, Arizona has been host a number of times, including 1999 with “El Fishnet Fiesta”, and “Queens of the Desert” held in 2006.[58] Vera Dika wrote that to the fans, Rocky Horror is ritualistic and comparable to a religious event, with a compulsive, repeated cycle of going home and coming back to see the film each weekend.[7] The audience call backs are similar to responses in church during a mass.[7] Many theatre troupes exist across the United States that produce shadow-cast performances where the actors play each part in the film in full costume and props as the movie plays on the big screen in a movie theatre.[59][60] These showings are typically once a week or once a month on a Saturday at midnight.

The film has a global following and remains popular.[61] Sub cultures such as Rocky Horror have also found a place on the internet.[62] Audience participation scripts for many cities are available to download on the Internet.[23] The internet has a number of Rocky Horror fan run websites with various quizzes and information specializing in different content allowing fans to participate at a unique level.[28]

Cultural impact

The Rocky Horror Picture Show has been featured in a number of other feature films and television series over the years. Episodes of The Venture Bros., The Boondocks, Glee, The Drew Carey Show, That '70s Show, and American Dad! spotlight Rocky Horror, as well as films like Vice Squad, Halloween II, and The Perks of Being a Wallflower.[42] The 1980 film Fame featured the audience reciting their callback lines to the screen and dancing the Time Warp,[63] the dance from the stage show and film, which has become a novelty dance at parties.[64]

"The Rocky Horror Glee Show" aired on October 26, 2010, as part of the second season of the TV series Glee, which recreated several scenes from the film, including the opening credits. It featured Barry Bostwick and Meat Loaf in cameo roles.[65]

"Bisexuality, The Rocky Horror Picture Show, and Me", by Elizabeth Reba Weise, is a piece in Bi Any Other Name: Bisexual People Speak Out (1991), an anthology edited by Loraine Hutchins and Lani Ka'ahumanu which is one of the seminal books[66][67] in the history of the modern bisexual rights movement.[68]

The Rocky Horror Picture Show remains a cultural phenomenon in both the U.S. and U.K.[69][70] Cult film participants are often people on the fringe of society that find connection and community at the screenings[71] although the film attracts fans of differing backgrounds all over the world.[72]

Sequels

In 1981, Sharman reunited with O'Brien to do Shock Treatment, a stand-alone feature that was not a direct sequel to the original film.[2] This film reunites characters Brad and Janet and was originally conceived and written to depict the characters filmed in normal settings until the production changed to work around a Screen Actor's Guild strike. The eventual production would now entail the full film being shot entirely within a sound stage and purposely blending that into the story line. Shock Treatment has a cult following but not nearly as strong as the first film, and was a commercial failure in no small part due to the principal cast of Curry, Sarandon and Bostwick not returning.[73]

Ten years later, O'Brien wrote another script intended as a direct sequel to the cult classic entitled Revenge of the Old Queen.[74] Producer Michael White had hoped to begin work on the production and described the script as being "in the same style as the other one. It has reflections of the past in it."[75] Although the script has not been published, bootleg copies can be read on the Internet. The script is currently owned by Fox, which produced the two original films. Most individuals associated with the project, including O'Brien, agree that the film will probably never be made, owing to the failure of Shock Treatment and the aging of the cast.[76]

In 2014, it was announced that O'Brien would produce Shock Treatment for the theatrical stage. The production will premiere at the King’s Head theatre in Islington, London in the United Kingdom in the spring of 2015.[77]

Remake

On 10 April 2015, it was announced that the Fox Broadcasting Company would air a modern-day reimagining of the film, titled The Rocky Horror Picture Show: Let's Do the Time Warp Again.[78][79] On 22 October 2015, it was announced that the role of Dr. Frank N. Furter would be played by actress Laverne Cox.[80] Ryan McCartan and Victoria Justice play the roles of Brad and Janet, alongside Reeve Carney as Riff Raff and singer/model Staz Nair as Rocky.[81] Adam Lambert portrays Eddie.[82] Tim Curry, who portrayed Dr. Frank N. Furter in the film, portrays The Criminologist.[83] On 1 February 2016, it was announced that Broadway veteran Annaleigh Ashford would portray Columbia.[84] On 5 February 2016, Ben Vereen joined the cast as Dr. Everett von Scott.

Kenny Ortega, best known for the High School Musical franchise and Michael Jackson's This Is It, directed, choreographed and executive-produced the remake; Lou Adler, who was an executive producer of the original film, has the same role for the new film. The film premiered on Fox on 20 October 2016.[85]

See also

References

  1. ↑ "ROCKY HORROR PICTURE SHOW (AA)". British Board of Film Classification. 17 June 1975. Retrieved 18 April 2015.
  2. 1 2 Armstrong, Richard; et al. (7 November 2007). The Rough Guide to Film. Rough Guides. p. 506. ISBN 978-1-4053-8498-8.
  3. 1 2 "The Rocky Horror Picture Show". American Film Institute. Retrieved 11 December 2015.
  4. ↑ Solomon, Aubrey (1989). Twentieth Century Fox: A Corporate and Financial History. Scarecrow Press. p. 258.
  5. ↑ Box Office Information for The Rocky Horror Picture Show. The Numbers. Retrieved 25 August 2013.
  6. 1 2 3 4 5 6 Scott Miller (2011). Sex, Drugs, Rock & Roll, and Musicals. UPNE. pp. 127–. ISBN 978-1-55553-761-6.
  7. 1 2 3 4 Vera Dika (9 June 2003). Recycled Culture in Contemporary Art and Film: The Uses of Nostalgia. Cambridge University Press. pp. 112–. ISBN 978-0-521-01631-5.
  8. 1 2 Knapp, Raymond (March 2, 2009). The American Musical and the Performance of Personal Identity. Princeton University Press. pp. 240'. ISBN 0-691-14105-3.
  9. 1 2 3 4 5 Daniel Eagan (26 November 2009). America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry. Continuum International Publishing Group, Limited. pp. 2086–. ISBN 978-1-4411-7541-0.
  10. ↑ Thomson, Brian, ed. (1979) The Rocky Horror Scrapbook. New York: Star Fleet Productions, Inc. 6.
  11. ↑ Shuker, Roy (November 1, 1994). Understanding popular music. Routledge; annotated edition. p. 160. ISBN 978-0-415-10722-8.
  12. ↑ Erik Quisling; Austin Lowry Williams (2003). Straight Whisky: A Living History of Sex, Drugs, and Rock 'n' Roll on the Sunset Strip. Bonus Books. pp. 245–. ISBN 978-1-56625-197-6.
  13. ↑ Louis Botto; Robert Viagas (2002). At this Theatre: 100 Years of Broadway Shows, Stories and Stars. Applause/Playbill. pp. 33–. ISBN 978-1-55783-566-6.
  14. ↑ Paul Newland (2010). Don't Look Now: British Cinema in the 1970s. Intellect Books. pp. 138–. ISBN 978-1-84150-320-2.
  15. ↑ Williams, sally. "Elstree Studios.". The Free Library. Farlex, Inc. Retrieved 16 March 2014.
  16. ↑ Huckvale, David (28 May 2008). Hammer Film Scores and the Musical Avant-Garde. McFarland. p. 150. ISBN 978-0-7864-3456-5. Retrieved 30 September 2012.
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