With horror industry heavy hitters already in place from the 1970s, the 1980s built upon that with the rise of brilliant minds in makeup and effects artists, as well as advances in technology. Artists like Rick Baker, Rob Bottin, Alec Gillis, Tom Woodruff Jr., Tom Savini, Stan Winston, and countless other artists that delivered groundbreaking, mind-blowing practical effects that ushered in the pre-CGI Golden Age of Cinema. Which meant a glorious glut of creatures in horror. More than just a technical marvel, the creatures on display in ‘80s horror meant tangible texture that still holds up decades later. Grotesque slimy skin to brutal transformation sequences, there wasn’t anything the artists couldn’t create. It Came From the ‘80s is a series that will pay homage to the monstrous, deadly, and often slimy creatures that made the ‘80s such a fantastic decade in horror.
“Feed me, Seymour!”
One of the most interesting and diverse topics of discussion in horror fandom is your entry point in the genre. Whether you fell into the deep end with R-rated classics or began gently with kid-friendly fare, the path we took and the films we watched along the way vary greatly from person to person. It’s an interesting conversation to have, and there’s no incorrect approach. All of which to say that gateway horror is an important part of our formative love of the genre.
Speaking of which, Little Shop of Horrors blended horror and comedy with the musical, featured a cast of notable comedians, and fantastic creature work that appeased the budding monster fan. It appeased stricter parents, too, with the PG-13 rating. But that’s not the only reason Little Shop of Horrors makes for a perfect gateway horror watch.
The movie is an adaptation of the Off-Off Broadway musical, which premiered in 1982, before growing in popularity and moving to Off-Broadway. Eventually, it outgrew that and received its own Broadway production. But the original musical, penned by Howard Ashman with music by Alan Menken, was based on the 1960 film that was produced and directed by Roger Corman. It even retained a similarly bleak ending for plucky protagonist Seymour, albeit not identical. In a fun and loose way, the 1986 film was essentially an intro to the cult work of Corman!
In terms of setup, the premise is pretty simple. A nerdy employee of a floral shop in Skid Row finds a shot at success and love when he buys a strange plant, dubbed Audrey II after his love interest, at another floral shop during a solar eclipse. The plant brings in business for the store, but it also happens to have a voracious appetite for blood and human flesh. The more it eats, the bigger it gets, and the less Seymour is able to control it. You know. The usual. Boy meets girl, boy falls in love, man-eating space plant threatens to destroy everything.
Seymour, in the film, is played by Rick Moranis, who was approached to play the part by producer David Geffen before Ghostbusters. It took Geffen a while to get the feature film adaptation going; originally Steven Spielberg was set to executive produce while Martin Scorsese was attached to direct. The plan was to make the film 3D. But the 1960 film’s screenwriter and voice of Audrey Jr., Charles B. Griffith, filed a lawsuit that stalled production. When finally it cleared, long after Spielberg and Scorsese left the project, Geffen hired Frank Oz (The Dark Crystal, The Muppets Take Manhattan) to direct. For the key character of Audrey II, Oz then enlisted special effects artist and animatronics wizard Lyle Conway (The Blob), with whom he’d previously worked with on The Dark Crystal, and production illustrator Michael Ploog (The Thing).
Between Oz’s more cartoonish vision and Conway’s realistic approach, the design of Audrey II is something in between. Audrey II is adorably monstrous. Conway then had the task of building seven different sizes of Audrey II, from tiny to a 12-foot behemoth that required an insane amount of movement in the face and piles of limb-like vines. A lot of the creature’s movement relied on animatronics, but a whole lot of puppeteer work was required as well.
Ploog, who had also worked with Oz on The Dark Crystal, provided much of the film’s storyboards. Ploog choreographed the alien plant’s action in his storyboards, trying to capture the humor in the movement on the page, and Audrey II’s personality developed from there. Voiced by Levi Stubbs, choreographed by Ploogs, and then brought to life by Conway and his team, Audrey II became a monster with a serious personality.
Little Shop of Horrors is a rare film that seems to have it all. Catchy songs, a talented cast filled with recognizable names, great creature work, a sense of humor, heart, and horror that even mom can approve of. There’s been news of a remake in the works for years now, which is fine- this is a film that could use rediscovery. Especially for budding horror fans. There’s a place for all varieties of horror, especially gateway horror or lighthearted family-friendly films, and this niche horror comedy musical most definitely fits the bill.
