When looking at the many films that have been labelled as “cult classics”, one of the easiest examples to dissect is The Rocky Horror Picture Show, since all the qualities that have led it to become one of the most cherished works of musical cinema are very clear. It’s a subversive look at sexuality, framed by a thin veneer of unhinged horror and featuring arguably one of the greatest soundtracks of the 1970s. Jim Sharman and Richard O’Brien did something special, and crafted a film that remains resonant nearly half a century later. However, as is often the case with enormous successes, it wasn’t too long until it was subjected to the expected conversations surrounding venturing into this world again in the hopes of recapturing the spirit of the original. While not a direct sequel, Shock Treatment occupies the exact same space as the previous film, both in terms of the physical realm (being set in the same absurd version of our world), as well as in the narrative space, having the same renegade attitude towards logic as The Rocky Horror Picture Show. It would be foolish to imply that this film is anywhere close to being equal to its predecessor, and at best is a pale imitation of all the components that made the original so captivating and successful. However, it would be just as misguided to cast too much of a cynical gaze on Shock Treatment, since it does manage to very successfully revisit some of the major ideas in a way that repurposed them into their own original space, which makes for an utterly compelling musical that is just as entertaining and perverted in its sensibilities as it could’ve possibly been, given the enormous limitations asserted on it, as well as the expectations thrust on the film the moment it was announced to be a follow-up to one of the most unexpected successes of that particular era. It may not rise to the same heights, and often functions as a lesser-known companion piece, rather than an equally successful sequel or follow-up, but for what it lacks in originality, it makes up for in unhinged energy, which only makes it all the more unforgettable.

Comparing Shock Treatment to The Rocky Horror Picture Show is a needless endeavour, since it really only serves to highlight the shortcomings of a film that is still remarkably decent, taken for what it is, and distracts from the original qualities that Sharman and O’Brien made sure to include, in order to differentiate it from the previous film. On its own, Shock Treatment is undeniably a lot of fun – it’s an experimental musical that has an enormous amount of heart, as well as the good sense to be able to use it in a way that doesn’t distract from the peculiarities surrounding it. As is the case with any work of experimental cinema (which is perhaps the best place to start when describing the world Sharman and O’Brien have created – logic is never a guiding factor in their productions), we can rarely figure out where the story is going to take us, which only makes it more enthralling, since the viewer is perpetually on tenterhooks as they patiently wait to see what surprises are in store for us around each twisted, labyrinthine corner (both literally and metaphorically), knowing that our expectations may not necessarily always be met, but are most certainly going to be exceeded in some way, since it’s impossible to predict which avenues of poor taste and absolutely demented perversion we’re going to be led down. It only makes the experience of watching Shock Treatment all the more exciting, since it separates itself from any rational thought early enough, while still making sure that we are well aware of the real-world parallels that Sharman and O’Brien are basing so much of this story on. It makes for a thrilling and deeply unsettling experience which only proves that discomfort can be a powerful tool – and perhaps even a secretly delightful one – when it is used well and with a purpose.

Shock Treatment is a film that, as the title suggests, strives to be as shocking as it could possibly be, which is certainly on-brand for the story it tells. Despite being released forty years ago, it remains relevant, perhaps even more so, since we currently live in a world that demonstrates a cult-like obsession with reality television. Our tendency to worship celebrities, or those with the even more worrying title of “social media influencers” is preemptively criticized here, as made very clear by the constant playfulness surrounding the representations of these eccentric characters, who are shown as unconventional idols, the subject of mass reverence by the general population, with the viewer getting exclusive backstage access to the deranged nature of the world they occupy. Shock Treatment is developed as a satire of mass media culture, with the entire film taking place within a television studio, which served as both a way for the production to cut costs (rather than filming on-location), and to add to the absurd nature of this world, in which we function as voyeuristic observers. It’s far from the first film to criticize the rising popularity of the media in shaping the minds of the population by strengthening its grip on our minds and influencing us to think one way or another through the supposedly undying devotion shown by viewers. However, it could be considered one of the most surreal, since it focuses less on the hard-hitting realities through the guise of a thinly-veiled dark comedy, but rather removing all sense of logic, and instead pursuing something far more subversive, using a kind of nonsensical humour to divorce this particular story from reality in a way that allows the themes it is exploring to still be somewhat recognizable, but through layers of the most deranged, absurd humour imaginable. It’s a ferocious approach to satire, and it can often be quite bewildering – but to its credit, Shock Treatment never implied that it would be anything other than a polarizing, bizarre odyssey into the heart of the mass media and a brutal, darkly comical evisceration of its stranglehold on the culture.

On a purely conceptual level, Shock Treatment is an absolute triumph, a fascinating and hilarious dark comedy that features some truly impressive music (some of the songs, such as the recurring “Denton, USA” and “Look What I Did To My Id” stand as some of the best compositions of O’Brien’s career), and a talented cast of actors who manage to bring it to the screen. Surprisingly, the refusal of Susan Sarandon and Barry Bostwick to reprise their roles as Janet and Brad Majors respectively actually allowed for two equally talented performers, Jessica Harper and Cliff De Young, to step into the roles, giving their own interpretation of these characters, and in the case of the latter, turning in a truly impressive performance in dual roles as Brad and the film’s main antagonist, the deranged Farley Flavours. It’s a sprawling cast, with each member of the ensemble feeling like they fit perfectly into this world, whether they’re veterans of The Rocky Horror Picture Show playing new roles (as is the case of O’Brien and Patricia Quinn, who are simply unforgettable as the terrifyingly hilarious Dr Cosmo and Nation McKinley), or newcomers like the iconic Barry Humphries, who is a scene-stealer as the possibly blind and potentially German television host who serves as the catalyst for much of the madness that surrounds the film. Considering how this film was operating from a slightly smaller scope, being filmed entirely on a soundstage that stands in for the entire universe in which this film is set, the characterization is integral, hence O’Brien made sure to tailor the songs to these characters in a way that feels far more genuine than the more common practice of placing actors in roles that require them to sing – in Shock Treatment, the characters drive the narrative and music, rather than the other way around, which seems like a logical approach, but it’s still one that’s rarer to find in contemporary musicals.

The quality that defines this film better than most is its forthright willingness to be more than it is insightful – O’Brien and Sharman clearly didn’t design this film to be a particularly profound experience, instead choosing to give the viewers the opportunity to escape into a world unlike our own. This is reflected in nearly every frame, where the intricate details of the story are contrasted with some broad strokes of ingenious madness, a kind of peculiar sensibility that situates this film outside any logical world, and where sense is more of a concept than it is an actively important part of life. Describing Shock Treatment in clear, coherent terms is difficult, since absolutely nothing about it feels like it lends itself to traditional discourse – but like its predecessor, there is an abundance of subtext that may take a few viewings to fully understand – especially since Sharman directs this film with breakneck speed, filling every scene with an abundance of visual gags, subtle references and peculiar jokes – all of which ultimately rewards the eagle-eyed viewer with the patience and willingness to surrender to the strange and hypnotic charms of this oddity of a film. It pales in comparison to the previous film in this universe, but it is far from worthless, particularly in how, despite using many of the same tricks that made The Rocky Horror Picture Show such a success, O’Brien and Sharman refuse to rest on their laurels, and instead approach this film from an entirely different perspective, inciting different conversations and satirizing a new set of concepts, each one resonating with an oddly enduring amount of sincerity, despite the deeply unsettling nature of the story. As a whole, Shock Treatment is a tremendously entertaining effort that warrants just as much of a cult status as its predecessor, whether it be for its delightfully perverse sense of humour, terrific music, or willingness to venture where many satires wouldn’t dare, reflecting the darker side of the human condition through the lens of a beautifully deranged, and undeniably entertaining, rock music odyssey.