nopuppy-1

I love the original film, and I enjoyed the songs from the Broadway musical, but had real qualms about what was done to the plot. And unfortunately the film bears out my fears: this has to be the sloppiest, most incoherent plot ever put on celluloid. The lapses in logic are appalling: "Robot Monster" makes more sense! Characterization is beyond minimal, it's practically non-existent. The characters of Link and Amber barely exist; at least Link has a song or two, but they aren't character songs. Amber has, what, five lines? Some of these are problems carried over from the show, which is a shame, since the songs could easily be plugged into the original with little adapting (except for cutting that lousy "Miss Baltimore Crabs" number). A missing song, "Mama, I'm a Big Girl Now," would have given Amber and Penny something interesting to do. One nice change was made to the finale, but generally the song's impact is dissipated by dialogue interruptions and pointless, unfunny slapstick. John Travolta is practically unintelligible, Christopher Walken is inaudible. Direction is scattershot as well, and the choreography is not up to snuff.

It's too bad, because this really is a pretty good cast (Travolta aside). Some of the antic joy that is a musical comedy comes through, and that's about it. I just hope that Waters's original doesn't disappear under the avalanche of hype this movie comes equipped with. If you haven't seen the original, run out and grab it! It's a joy. Who'd have thought that John Waters, of all people, would create one of the more heartwarming fables of the latter years of the 20th Century?

This is what independent work is all about. The animation is beautiful, yet not like any animation you've seen. This is no slick rip-off of successful style with smarmy pop-culture references; no Disney/Pixar wannabes here. The director has a vision of his own and makes it happen. It's a very, very good adaptation of the Abbott novel, witty, with good voice-work and very good music. There are some mind-blowing sequences towards the end, but the most impressive quality is the originality of the vision.

If this is the director's first feature, there are big things in store for him. Don't lose that vision! A film like this gives me hope.

Those of us weaned on "Rocky Horror" are in for a shock with this one. The Brad and Janet of "Shock Treatment" are not the wonders of "Rocky Horror." But give it a chance, this is one that grows in its impact with repeated viewings. One off-putting (but right on) element is the set design, which is really pretty ugly, but why shouldn't it be? It's all set in a television studio! The plot is murky to begin with, and the denouement isn't all it could be, but it does make sense (after you watch it twice), and the songs are almost up to RHPS standards, with winners like "We're Gonna Do It Anyhow," "Looking for Trade," and the title number. A great cast, too, with Jessica Harper rocking up a storm, Patricia Quinn finally getting some real dialogue (and delivering it marvelously), Cliff de Young in a dual role (he's a bit weak, but may have been directed that way), Ruby Wax, Rick Mayall pre-"Young Ones," at least one RHPS bit player upped to a major role (Jeremy Newson as Ralph Hapschatt), and Barry Humphries as "blind" Bert Schnick, before he went into permanent drag as Dame Edna.

This is due out on DVD next month, and I'm ready to spring for it. If you like off-kilter satire with rockin' numbers, you might like this too.