Richard O'Brien

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Wet and Windy

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In the following essay, Eric Korn critiques The Rocky Horror Picture Show for its campy humor and entertaining yet disjointed narrative, arguing that its attempt to cater to diverse audiences ultimately renders it less compelling after its striking opening sequence.

In a newly written proem for The Rocky Horror Picture Show, the American Gothic farm couple stand by the door of a country church to tell us that the movie is groovy, but literate. And when Brad and Janet … drive off to their rendezvous with worse-than-death, Nixon resigns, totally ignored, over the car radio….

The hero's camp ineptitude is amusing at first: 'We'll just play along and pull out our aces when the time comes,' he soothes, as he and Janet are brutally stripped by divers bizarre aliens, while [Frank-N-Furter] slithers and lisps 'What charming underclothes' as if praising hybrid tea roses. But it's all cumulatively unendearing, the pansexual lust-rock and choreography too like a sustained bombardment with heavy marshmallow, and the innumerable references to Fay Wray pass from whimsy to obsession…. [The] plot is decerebrate, and altogether the film wriggles between too many stools: you can't please rockers, camp-followers, and movie buffs all at once. It's entertaining, just, but downhill all the way from the splendid opening, gigantic lips on a black screen mouthing the title song….

Eric Korn, "Wet and Windy," in New Statesman (© 1975 The Statesman & Nation Publishing Co. Ltd.), Vol. 90, No. 2318, August 22, 1975, p. 231.∗

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