A rebellious punk of the beat generation spends his days as an amateur dirt track driver in between partying and troublemaking. He eventually kidnaps his buddy's girlfriend, kills a few ... See full summary »
When the clumsy Seymour Krelboyne spoils two flowers of a client, the owner of a small florist shop Gravis Mushnick is ready to fire him. However Seymour tells that he has mixed two plants of different breeds at home and created a hybrid named Audrey Jr. and Mushnick decides to give another chance to his employee. On the next day, Seymour brings Audrey Jr. that becomes the pride and joy of Mushnick, his other employee Audrey Fulquard and clients. Out of the blue, the flower seems to be dying and Seymour accidentally learns that she likes blood. One day, Seymour is upset since he does not know how to feed the flower and he walks along a railroad. When he throws a stone near a railroad track, he accidentally hits the head of a man that falls on the track and is a train runs over him. Seymour brings the pieces of the man to the shop and finds that the plant likes flesh. On the next morning, Audrey Jr. has grown and become the attraction of the shop. But how will Seymour feed his plant ...Written by
Claudio Carvalho, Rio de Janeiro, Brazil
It had been rumored that the film's shooting schedule was based on a bet that Corman could not complete a film within that time. However, this claim has been denied by Mel Welles. According to Joseph, Corman shot the film quickly in order to beat changing industry rules that would have prevented producers from "buying out" an actor's performance in perpetuity. On January 1, 1960, new rules were to go into effect requiring producers to pay all actors residuals for all future releases of their work. This meant that Corman's B-movie business model would be permanently changed and he would not be able to produce low-budget movies in the same way. Before these rules went into effect, Corman decided to shoot one last film and scheduled it to happen the last week in December 1959. See more »
When Seymour is talking with the prostitute, her scarf moves from one shoulder to the other in alternate shots. See more »
Sgt. Joe Fink:
[voiceover over a panning shot of a drawing of a sleazy neighbourhood]
My name is Sergeant Joe Fink, working the 24-hour shift out of homicide. And this is my workshop. The part of town that everybody knows about, but that nobody wants to see - where the tragedies are deeper, the ecstasy's wilder and the crime rate consistently higher than anywhere else. Skid Row... my beat.
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The film was colorized twice. The first colorized version of the film was authorized by Roger Corman in 1987. This version featured several continuity errors, including the color of Audrey's costume changing several times in the same scene. Although it was poorly received, this version carried over to the 2006 Corman-authorized DVD released by Buena Vista Home Entertainment (which featured no black and white version of the film). The second colorized version of the film was produced by Legend Films in 2006, and was better-received. The Legend Films edition is the only DVD release of the film to offer both black and white and colorized versions of the film. See more »
I remember seeing this on a weekly television show called Chiller, when I was in high school. It was one of those local celebrity things, with an emcee presiding over whatever horror movies were in the library of that particular station. I realized quickly, what an offbeat flick this was. It was utterly hilarious with its moments of masochism, the man eating plant, Audrey one and two, and all the other things that Seymour must deal with just to keep going. The plant controls him and it is a hilarious plant. The black and white neutral staging of the plant is so much better than the flashiness of the musical (though I do like some of those songs). The smallness of this film is what helps make it work. Everyone is a caricature. Jack Nicholson's proudest moment. No wonder he is such a wack, spending all that time in his formative years with Roger Corman. The acting works because it is a period piece. No matter how much we try to reproduce the fifties, it always falls short of just seeing the fifties. It's like Dragnet without the strange suits and the slang of the time. It's just more honest because they weren't trying to reproduce it. I haven't watched this in some time, so I think I'll leave my computer and sit down and watch it again.
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