LITTLE SHOP OF HORRORS: Cross-Pollinization!

Since I first heard them in 1986, the Little Shop songs have been like a personal scavenger hunt for me, as I explore 60s music and find all the little references which make this an indelible bit of Baby Boomer nostalgia.


By design, the Little Shop score evokes Motown, Doo-Wop and the songs of Ellie Greenwich as produced by Phil Spector.  As a point of comparison, Menken's Brill-Building-inspired, piano-driven pop is very much in the same vein as Billy Joel's.  Of course, Menken marries these pop/rock influences to a classic Broadway sound, exemplified by Rodgers & Hammerstein (The Sound of Music, Oklahoma!, etc) and Lerner & Loewe (My Fair Lady, Camelot etc), with just a smidgen of Kurt Weill in there, too.  Menken's musical style is also quite consonant with that of Stephen Schwartz (Godspell, Pippin, Wicked).  It is surely no accident that both composers have been tapped by Disney for its newer films.


As for Howard Ashman's lyrical style and its possible influences, that is a much more difficult thing to pin down, though of course the book and lyrics abound with witty references to pop hits of the era.  One might observe that his clever, idiomatic lyrics recall the work of Frank Loesser (How to Succeed in Business Without Really Trying, Guys & Dolls, etc).



These general influences aside, I have found a lot of direct musical and lyrical quotations, and I thought it would be fun to enumerate them, with links galore for your listening pleasure.  Click "Read More" for the full list.  I advise right-clicking on links to open in a new tab, so you can listen & read without interruption.

LITTLE FACEBOOK OF HORRORS

I have started a Facebook Group for people who'd love to see a new DVD of Little Shop of Horrors with the original ending intact.  Let's get Geffen and Warner Home Video to notice!  2011 is the 25th Anniversary of the film's release.  Isn't it about time?

A handy round-up of my Little Shop material can be found here, including my argument for why the original ending is integral to the film, and some very nice stills from the deleted scenes.

Here is my Blu-Ray Wish-List, which includes both new material and items from the original DVD.  While we are at it, a newly remastered version of the Original Soundtrack Recording would also be lovely.  That 25 year old CD sounds pretty tinny these days.

DVD WISHLIST

New Material:
• New HD transfer of the Original Theatrical and Restored Versions
• Commentary on Restored Version by Ellen Greene and Alan Menken
• "The Meek Shall Inherit" Dream Sequence (either reinstated, or as an extra - at Frank Oz's discretion)
• Puppetry & Visual FX feature with Lyle Conway, Bran Ferren, Richard Conway, Brian Henson, Anthony Asbury & Martin P. Robinson
• Mike Ploog's storyboards
• Photo Gallery
• Isolated score
• Levi Stubbs performing "Mean Green Mother" at the Academy Awards
• Any rushes, trims, tests and behind-the-scenes footage that might still exist
• Anything relating to the original play, like this TV Commercial.
• PDF version of the screenplay by Howard Ashman
• PDF version of the FX feature from Cinefex Magazine

From the Original DVD:
• Frank Oz Commentary on Theatrical Cut
• Original Ending Rough Cut (both with & without Oz commentary)
• Blooper Reel
• TV & Cinema Trailers
• Original Electronic Press Kit documentary


SOUNDTRACK WISHLIST

The whole thing needs to be remastered.  I'd like to hear the opening verses of "Don't Feed the Plants" restored, and I'd love to include selections from Miles Goodman's excellent score as well.  And please do include any demos that might exist for cut songs, like "Crystal, Ronnette & Chiffon," "Your Day Begins Tonight," "Bad" and especially the wonderful "We'll Have Tomorrow," which was cut from the stage show.

LITTLE SHOP - Weird & Exotic Cuttings

Here's a collection of some of the rarely seen Little Shop stills I have collected, including scenes from the deleted ending and storyboards which have never, to my knowledge, been published before. You might also like to see my collection of movie props and puppet pieces purchased from one of the film's puppeteers.  Also, here is a link to the original Little Shop press kit promoting the film.  Enjoy!

Concept model of Audrey II built by Lyle Conway. Notice the saliva bubbles on the tongue and vines.

CUT SCENES


This might have earned Little Shop an "R"!


Seymour wrestles with his conscience in the deleted dream sequence from "The Meek Shall Inherit."  A couple of brief clips from this scene appear in the bloopers & out-takes montage on the DVD.  There are more photos available that I have yet to scan, including images of Seymour turning into a plant!  The full song can be heard on the soundtrack album. Let's hope this shows up on DVD sometime!  (Topps trading cards scans courtesy of Morgan Leger.)

A dying Audrey sings the "Somewhere That's Green" reprise.


Seymour prepares to sacrifice Audrey. This is apparently a rehearsal shot, as the plant's trap is closed, whereas in the footage seen on the DVD, it is open at this point.



Audrey II says "bye bye" to poor Seymour.

The chorus girls foretell America's doom.


Audrey II stomps down Fifth Avenue. Notice the little Yellow Cab in the lower-right. In the sequence as seen on the DVD, the plant kicks this out of the way and it goes flying! You can just barely see a second Audrey II behind the first one.

The model sequences were filmed at high speed, so when projected normally they'd go more slowly and have a sense of weight and scale. This meant that the plant movements had to be very fast, with some scenes taking mere seconds. This is the opposite of how the full-sized plants were filmed. They were performed slowly, while the camera also filmed at a slower rate which made everything "real time" when projected normally.

Be sure to click on the above image for a larger size - the level of detail in the model buildings is simply stunning.




Check out the little car being waved around in the plant's tentacle!




The sets created by miniature effects supervisor Richard Conway were truly incredible, with more detail than I've ever seen in a miniatures sequence, including walls that crumbled into individual bricks as the plants crashed through. Here, a plant demolishes a theater showing Jason & the Argonauts, a landmark fantasy film with stop-motion effects by Ray Harryhausen. The effects for this sequence, however, were all computer-controlled movements, not stop-motion.


Brooklyn Bridge - Shot #1 (Between this film, Cloverfield and I Am Legend, Hollywood has not been kind to the Brooklyn Bridge!)


Brooklyn Bridge - Shot #2 (Notice a 2nd plant poking into the frame in the lower left.)


Brooklyn Bridge - Shot #3 (I believe this shot demonstrates the most accurate color balance out of the three Bridge images presented here.)


The final shots of the "Don't Feed the Plants" sequence showed plants clinging to the Statue of Liberty. You can see the tendrils of a second plant sitting on the Statue's shoulder. Below, I added a fiery background in PhotoShop.




The only model footage in the final film is the cityscape behind Steve Martin in the opening bars of "Dentist!"

Fun fact - Richard Conway filmed a great model sequence featuring another giant, talking, carnivorous plant for a 1976 episode of Doctor Who. The tentacled plant-creature attacks a very detailed model of an English country house in "The Seeds of Doom," before meeting its inevitable fate at the hands of Tom Baker. Of course!




STORYBOARDS

Marvel Comics artist Mike Ploog storyboarded all the Audrey II sequences, allowing the film-makers to get a clear idea of what puppets and what sets would be needed for each angle. These "Mean Green Mother" panels are the only storyboards I've ever seen - I got them on eBay from one of the original puppeteers. That's a story for another time, however. Needless to say, I would love to see these presented on a re-release DVD!

Update, February 2012:  A few storyboard panels (for the sequence where Audrey is pulled from the plant's mouth after "Suppertime II") are published in Modern Masters, and I recently found this excellent concept piece titled "You ate the only thing I ever loved!" with a very different plant design.  Another different plant, much more "EC Comics" style, is on Ploog's own website.

The storyboards below I still have never seen anywhere!

LITTLE SHOP OF HORRORS - Stage to Screen

From unexpected success on film to unexpected smash on stage, it seemed inevitable that Little Shop of Horrors would transition back to the screen. Part two looks at how it happened, plus how and why the ending was changed...

When Hollywood beckoned, the creative team faced a huge challenge in preserving the play’s delicate balance of retro satire, heartfelt romance, and black humor. As it happened, the resulting film was entirely charming, with a script that stuck very faithfully to the stage show (the first 20 minutes are almost a line-by-line transliteration of the original libretto) but condensed scenes and dropped songs where necessary and expanded other ideas which could only be suggested on stage. Most importantly, the cast was perfectly chosen and the director, Frank Oz, proved sympathetic to both the humor and the heart of the show.


Who could resist this little cutie?

Originally, the film was to be shot on the cheap by Martin Scorsese, in authentic Lower East Side locations. This approach was abandoned for a big-budget production shot entirely on stylized skid row sets, with directorial names such as Steven Speilberg and John Landis mentioned. Despite the ballooning budget, however, Howard Ashman wisely kept his screenplay tight and compact, paring down the narrative to the essentials with not a moment wasted. The production team, determined to preserve the play’s unique appeal, even eschewed the time-honored tradition of ousting the play’s lead actress for a big name. Instead, Ellen Greene reprised her endearing stage performance as Audrey. Lovable schlemiel for hire Rick Moranis was cast as Seymour, veteran character actor Vincent Gardenia became Mr. Mushnik, and Steve Martin turned in a brilliant comedic performance as the dastardly - and none to bright - Orin Scrivello, DDS.


Ellen Greene as Little Shop's battered beauty.

The directorial reigns were handed over to Jim Henson’s long-time collaborator Frank Oz, who performed famous Muppet characters such as Miss Piggy, Cookie Monster and Fozzie Bear. More recently, Oz’s portrayals of Yoda (The Empire Strikes Back, 1980) and Augrah (The Dark Crystal, 1982) had set new standards for believable puppet characters. Geffen felt Oz, though a neophyte director, had the comic touch, emotional sensitivity, and puppetry knowledge to make Little Shop work on screen. Oz quickly proved the producer correct. Though helming a lavish multimillion-dollar production, he steadfastly refused to "open up" the play, eschewing both MTV-style flash and conventional staginess. To preserve the play’s emotional intimacy, and to keep the disparate plot elements from devolving into the absurd, he favored a subtle, economical approach that let the material speak for itself. Instead of complicated choreography, he paid close attention to the rhythms of natural movements, and keyed them to the musical beats. To emphasize the characters’ cramped, claustrophobic existences, Oz kept mostly to medium shots and close-ups rather than panoramic cityscapes or intricate camera movements. Robert Paynter’s lush faux-Technicolor cinematography savored the rich colors and weathered textures of Roy Walker’s ingenious sets. By sticking to the essentials, Oz achieved a level of conviction and believability rare for a movie musical, creating a self-contained world where everything, from a spontaneous ballad to an unexpected total eclipse, felt oddly natural.

Crucial to the film’s success was the blues-singing Audrey II. In keeping with Oz’s desire for immediacy and realism, no stop-motion or composite shots were used. Instead, special effects wizard Lyle Conway created a series of incredibly complex hand- and cable-controlled puppets, requiring anywhere from three to fifty operators. The detailed designs and effective puppetry, combined with the jiving, conniving baritone of Levi Stubbs (of the classic soul group The Four Tops), made Audrey II a delightfully unique screen villain instead of just another special effect.


Frank Oz (right) with Lyle Conway and Audrey II.

The biggest challenge of all was to translate the play’s famous proscenium-busting ending to celluloid. Various approaches were considered, including making the entire film a dream, or turning Seymour into a crazed figure shouting, "You’re next!" a la Invasion of the Body Snatchers. In the end, Oz decided to go for broke with a spoof on Godzilla-style monster mayhem that saw Manhattan under attack by giant plants and a foreboding “The End!?!” caption.

However, the faithful translation of the stage show to film was not to be. At the test screening held in Orange County, California, the family-demographic audience was quite positive about the film, laughing in all the right places and even applauding the musical numbers. They especially enjoyed Steve Martin's flamboyant turn as the pompadoured Orin Scrivello, DDS. But the mirth stopped cold once Audrey and Seymour died, and titanic plants took over the world.


Giant plants cackle merrily as New York burns.

According to Oz, no audience response cards were needed to know that the ending wasn’t appreciated. "When Seymour and Audrey died the audience was totally silent. They were waiting for something to happen and when it didn't, they were very angry at us." Oddly enough, the apocalyptic finale was one of the factors in making the stage show such an unexpected success. Oz credits this adverse reaction to the differences between stage and screen verisimilitude. "On the stage you know it's a felt puppet. You know they're going to come back for a curtain call...With film it's very powerful, and you really believe they're dead." The emotional truthfulness Oz had strived to capture worked against him: "If I had turned around and made it very funny and campy, then the problem of their deaths would be like saying 'Hey, it's OK, don't take it seriously.' Then I would have betrayed the people that really cared for the characters."

David Geffen, who backed the off-Broadway show, and whose company also produced the film, had predicted that the downbeat ending would not be accepted, though he boldly allowed filming to proceed. However spectacular, the $5 million sequence was now relegated to the cutting room floor, and another ending was needed – fast. In the new ending, Audrey recovers from the plant attack, and Seymour takes advantage of the flower shop’s demolition to electrocute the plant with an exposed power line. The two lovers then flit off to Audrey's suburban fantasy-land…where an Audrey II seedling lurks, smirking, in the flowerbeds.


"Oh, shit!"

It is a tribute to everyone involved that this new ending does not entirely dissatisfy. Indeed, the characters as impersonated by Rick Moranis and Ellen Greene are so appealing that one wants them to survive, and the "surprise" appearance of another plant (a venerable monster-movie ploy) somewhat alleviates the taste of sugar-coating - not to mention opening up the way for a sequel. Nevertheless, devotees of the stage show stringently objected to the change. "If I hadn't shot the original ending then I might have agreed that I should have," the director exclaims, "But I shot the goddamn thing! I tried it! But the audience is a very dynamic part of a movie. You don't make a movie for yourself, you make it for the audience."

But which audience? That is where Warner Brothers made their crucial mistake - they intended Little Shop to be a family-friendly holiday movie, when in fact, it was a weird cult item (albeit one that cost $30m to make). Forcing it into the feel-good mold warped the film out of shape.

In the following posts, I will argue that the whole conception of who Little Shop of Horrors was for was off. This came from the marketing department, not the artists, and led to the decision to change the ending and fatally damage the story. By providing Little Shop with a Hollywood happy ending, Warner Brothers not only abandoned one of the greatest FX sequences of all time, they turned a funny, charming but essentially serious and moralistic parable into a delightful but spiritually hollow movie. My ultimate hope is that Warner Brothers will do us the favor of releasing a deluxe “director’s cut” DVD and let the movie be seen as it was intended.

Next - how changing the ending changed the proverbial moral of the story.

REFERENCES:

CINEFANTASTIQUE Magazine
Volume 17, Number 1 (January 1987)
Volume 17, Number 5 (September 1987)

CINEFEX Magazine
Number 30 - May 1987

FANGORIA Magazine
Number 60, January 1987

LITTLE SHOP OF HORRORS (Photo Novel)
by Robert and Louise Egan
Perigee Books, 1986

THE LITTLE SHOP OF HORRORS BOOK
by John McCarty and Mark Thomas McGhee
St Martin's Press, 1988