Shock Treatment

Shock Treatment is a 1981 musical black comedy film that is often considered a follow-up to the cult classic The Rocky Horror Picture Show. While not a sequel in the traditional sense, it features actors from the original film and is also written by Richard O’Brien, who created The Rocky Horror Picture Show. The film was directed by Jim Sharman, who previously directed Rocky Horror, bringing back much of the same creative energy and offbeat charm that enthralled audiences in the earlier production.

Set in the fictional town of Denton, USA, a place that epitomizes the American suburban dream, Shock Treatment occupies a world where television has taken over the lives of the citizens. The town has been converted into a giant TV studio, with shows being broadcast live from the very streets and homes of its inhabitants. It is a biting satire of media culture, portraying a society where people are obsessed with celebrity and where the lines between life and television have become blurred.

The plot centers around Brad and Janet Majors, originally the newly engaged couple from The Rocky Horror Picture Show, though here they are played by new actors, Cliff De Young and Jessica Harper. The couple are experiencing marital difficulties and, in search of a solution, find themselves contestants on “Marriage Maze,” a game show that promises to fix their relationship but actually serves more malicious ends. The host of this bizarre show, Bert Schnick, is a character that embodies the manic energy and chaotic nature of the television-dominated environment.

As the film progresses, Brad and Janet become unwilling pawns in a larger scheme orchestrated by the fast-food magnate Farley Flavors, played also by Cliff De Young in a dual role. Flavors is a charismatic figure with a sinister plan for the couple and the town of Denton. He is surrounded by a cast of eccentric characters, including the manipulative doctors Cosmo and Nation McKinley, played by the film's writer, Richard O’Brien, and Patricia Quinn, who both reprise their unnerving dynamic from The Rocky Horror Picture Show.

Throughout the film, the citizens of Denton are depicted as passive spectators, watching their friends and neighbors' public humiliations and personal dramas play out on television screens. The movie explores how the consumerist hunger for entertainment affects personal relationships and warps the social fabric, pushing individuals into roles they might not normally inhabit. It dives into the idea of reality versus performance and questions which is the more authentic.

Musically, Shock Treatment boasts a unique and catchy soundtrack that complements its satirical edge. Songs such as the title track “Shock Treatment,” “Little Black Dress,” and “Bitchin' in the Kitchen” delve into the film’s themes of identity, commercialism, and the media circus. The soundtrack carries the same rock and roll energy and eclectic style that made The Rocky Horror Picture Show's musical numbers so beloved. Jessica Harper, known for her role in the film Phantom of the Paradise, showcases her singing talents alongside De Young and the ensemble cast.

Stylistically, the film embraces exaggerated, cartoonish sets and costumes that reflect the artificial world of Denton and its television-centric lifestyle. It opts for bright colors and surreal visuals, creating a sense of being in a twisted sitcom that is both delightful and disturbing. Although it differs fundamentally from The Rocky Horror Picture Show in terms of plot and characters, Shock Treatment maintains a similar absurdist sensibility and continues to challenge societal norms.

The film wasn't as widely embraced as its predecessor upon release, partially due to its confusing marketing as a "sequel" and the absence of the beloved characters from The Rocky Horror Picture Show. However, Shock Treatment has since developed its own cult following, with fans appreciating the film for its originality, biting commentary on media culture, and catchy musical numbers.

Ultimately, Shock Treatment is a film that revels in its own strangeness. It is a bold, if peculiar, project that dances on a line between musical theater and dark comedy. It's an experience that pulls viewers into a vividly imagined world that is both a product of its time and peculiarly prescient in its critique of entertainment and society. It is a must-watch for those who love cult films and have an appreciation for the off-kilter, the whimsical, and the satirical in cinema.