{"id":58600,"date":"2025-09-29T08:11:31","date_gmt":"2025-09-29T12:11:31","guid":{"rendered":"http:\/\/www.moviefanfare.com\/?p=58600"},"modified":"2025-09-26T23:28:14","modified_gmt":"2025-09-27T03:28:14","slug":"shock-treatment-the-rocky-horror-sequel-thats-almost-an-equal","status":"publish","type":"post","link":"https:\/\/www.moviefanfare.com\/?p=58600","title":{"rendered":"Shock Treatment<\/i>: The Rocky Horror<\/i> Sequel That’s Almost an Equal"},"content":{"rendered":"

\"\"<\/p>\n

Hollywood often gets a deserved bad rap for squeezing blood from stones (or beating dead horses, or whatever colorful metaphor one wishes to use) with ill-conceived and unnecessary sequels. Still, you have to give them some credit for allowing many of the truly classic films to stand alone. It was TV, not the movies, that gave us the Gone with the Wind<\/em> continuation Scarlett.<\/em>\u00a0Warner Bros. didn\u2019t go through with a proposed Casablanca<\/em> sequel entitled Brazzaville <\/em>(See MFF’s April Fool’s review here<\/a>). And John Waters abandoned plans for his Pink Flamingos<\/em> reprise, Flamingos Forever<\/em>, after Divine\u2019s untimely passing. With all that in mind, whose bright idea was it to make a follow-up to the archetypal cult flick, The Rocky Horror Picture Show<\/em><\/a>? None other than its creator, Richard O\u2019Brien<\/a>, and what eventually evolved into 1981\u2019s Shock Treatment<\/em> overcame a number of obstacles to emerge as\u2026not as bad a film as one might expect.<\/p>\n

Once 20th Century-Fox took a look at Rocky\u2019s<\/em> midnight show success in the late 1970s, it wasn\u2019t surprising that they, co-producer Lou Adler, director Jim Sharman, and O\u2019Brien would consider making a sequel. Just where does one go, though, after that film\u2019s finale, with (SPOILER ALERT!!!) \u201csweet transvestite\u201d Dr. Frank N. Furter (Tim Curry<\/a>) dead and ravaged all-American sweethearts Brad Majors (Barry Bostwick<\/a>) and Janet Weiss (Susan Sarandon<\/a>) left \u201ccrawling on the planet\u2019s face\u201d? O\u2019Brien came up a script entitled Rocky Horror Kicks His Heels<\/em>, which would have revived the corset-clad scientist and had a pregnant Janet wondering if the father-to-be was Brad or Frank. But the original\u2019s three leads begged off due to\u2013depending upon whom one talks to\u2013either scheduling or salary reasons, and the idea was scrapped.<\/p>\n

Next up was The Brad and Janet Show<\/em>, an relatively unrelated story (filled with O\u2019Brien\u2019s songs) that skewered middle American life and the mass media, with the title couple falling prey to the owner and staff of a sinister TV station. Curry was offered the dual role of Brad and station owner\/fast food mogul Farley Flavors, but turned it down because he wasn\u2019t sure he could pull off an American accent. Bostwick and particularly Sarandon had by this point gone on to bigger projects (Pretty Baby<\/em>, Atlantic City<\/em>) and were thus unavailable. Taking over as the hapless duo were Cliff De Young<\/a>, who had been considered for the Brad role in 1975, and Jessica Harper<\/a>, who played the heroine in Brian De Palma\u2019s RHPS<\/em>-like 1974 horror\/musical Phantom of the Paradise<\/em>. Several actors from the first film (Nell Campbell<\/a>, Charles Gray<\/a>, Patricia Quinn<\/a>, and O\u2019Brien) did return, albeit as new characters. The only person to have the same role in both? That would be Jeremy Newson as Ralph Hapschatt. You know, Brad\u2019s pal in the opening wedding\u00a0scene.<\/p>\n

\"\"<\/p>\n

In a curious case of adversities working in a production\u2019s favor, a U.S. actors\u2019 strike forced the shooting to move to England. A lack of suitable outdoor locations and budget constraints led O\u2019Brien to set the film, now retitled Shock Treatment<\/em>, entirely within a giant TV studio that\u2019s a second home to the residents of typical small town Denton. Two locals, De Young\u2019s Brad and Harper\u2019s Janet, are \u201cvolunteered\u201d to appear on a game show called Marriage Maze<\/em>, hosted by the manic, Germanic, and apparently blind Bert Schnick (Australian comic Barry Humphries<\/a>, minus his Dame Edna drag). Their responses to Bert\u2019s leading questions reveal Brad to be an \u201cemotional cripple\u201d and more than a little boring. He\u2019s quickly wheeled off onto another program, the real-life hospital drama Dentonvale, <\/em>and left in the \u201ccaring hands\u201d of incestuous sibling doctors Cosmo (O\u2019Brien) and Nation (Quinn) McKinley and their aides, Nurse Ansalong (Campbell) and Rest Home Ricky (Rik Mayall<\/a>, pre-The Young Ones<\/em>).<\/p>\n

\"\"<\/p>\n

Meanwhile, Janet has caught the eye of the mysterious Flavors (De Young again), who arranges for her to be groomed for stardom by Schnick and the McKinleys and presented to the eager Denton viewing public as its latest celebrity on his new show, Faith Factory<\/em>. All the fame and attention goes to poor Janet\u2019s head, while poor Brad is left sedated and straitjacketed in Dentonvale<\/em> (\u201cIs it because I\u2019m becoming too popular?,\u201d she asks). It takes some assistance from local commentator Judge Oliver Wright (Gray, who does indeed have a neck) and Ralph Hapschatt\u2019s ex-wife Betty (Ruby Wax)\u2013hosts of the recently-cancelled Denton Dossier news show\u2013for Brad to escape his confinement and confront his rival for Janet\u2019s affections.<\/p>\n

Taken on its own merits, Shock Treatment<\/em> does have several things in its favor. The beguiling, wide-eyed Harper is fine as Janet, and is a more natural singer (as evidenced in Phantom of the Paradise<\/em> and 1981\u2019s Pennies from Heaven<\/em>) than Susan Sarandon. De Young\u2019s Brad Majors is even more bland than Barry Bostwick\u2019s, but he does manage to carry off a late \u201970s Jack Nicholson\u2019s sleazy charm as the manipulative Flavors, who has a not-all-that-surprising link to Brad\u2019s past. Humphries, still a relative U.S. unknown in 1981, is a hoot (or maybe a \u201cHoopla!\u201d) as the demented Schnick. O’Brien and Richard Hartley\u2019s soundtrack is mostly on a par with Rocky<\/em>, with the opening \u201cDenton, U.S.A.\u201d number, \u201cLittle Black Dress,\u201d and the title tune sequence in particular standing out. And how can you not like a script featuring a sight gag that references Coleridge\u2019s “The Rime of the Ancient Mariner”?<\/p>\n

The film\u2019s most intriguing aspect, however, is how O\u2019Brien managed to (inadvertently?) predict the rise of reality TV and the omnipresence of shows like Big Brother<\/em> and American Idol<\/em>. For Denton, the line between real life and show business has ceased to exist, and Janet is all too willingly sucked into her perverted Pygmalions\u2019 quest for fame.<\/p>\n

On the other hand, the haunted house spoof storyline and sense of \u201cinnocent debauchery\u201d that allowed Rocky Horror<\/em> to connect with audiences willing to see it week after week are sorely lacking here. The satire of society\u2019s small-screen obsession, prescient though it proved to be, comes off as somewhat heavy-handed and too self-aware. I, for one, found it hard at times to sympathize with the starstruck Harper and the semi-comatose De Young, O\u2019Brien and Quinn\u2019s brother-sister quack therapists never fully develop as characters, and Campbell gets even less to do aside from helping wheel around Brad.<\/p>\n

\"\"<\/p>\n

It\u2019s next to impossible to deliberately create a cult film. It\u2019s even more difficult, if you\u2019ve accidentally made one, to catch that lightning in a bottle a second time. Consequently, Shock Treatment<\/em> failed in its initial theatrical run as a midnight movie. Apparently it was considered too offbeat for non-RHPS<\/em> fans and not enough like its predecessor for the hardcore faithful. Over four decades later, in a digitally-linked world saturated with instant media coverage and obnoxious manufactured TV \u201cstars\u201d (I mean you, Real Housewives<\/em> and Jersey Shore<\/em> casts), the film can stand out as a fun, if uneven romp. If it doesn\u2019t quite live up to the tagline \u201cnot a sequel, not a prequel, but an equal,\u201d it still manages to charm with its own demented style. Hoopla, Denton!<\/p>\n","protected":false},"excerpt":{"rendered":"

Hollywood often gets a deserved bad rap for squeezing blood from stones (or beating dead horses, or whatever colorful metaphor one wishes to use) with ill-conceived and unnecessary sequels. 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