Forbidden Zone

"Forbidden Zone" is an utterly certifiable fantasy-musical that unsurprisingly has picked up a cult following in the 40 plus years since its release. It deals with a young woman, "Frenchy" (Marie-Pascale Elfman), who disappears into the title dimension through a door in her houses' basement. Her brother Flash (Phil Gordon) and grandfather (Hyman Diamond) embark on a quest to rescue her. Presiding over this dimension are diminutive king Fausto (Herve Villechaize) and his tyrannical queen (Susan Tyrrell).

The talented Richard Elfman co-wrote this with Martin Nicholson, Nicholas James, and another under-appreciated talent, Matthew Bright (who also appears on screen as Squeezit and Rene), and Richards' younger brother, pop star turned film composer Danny Elfman, wrote the tuneful soundtrack. Elfman, too, acts in front of the camera as Satan, and Marie-Pascale, to whom Richard was married at the time, served as production designer.

They clearly put a fair amount of effort into this genuinely strange feature that is packed to the brim with assorted, inspired bits of random weirdness (like a butler with a frogs' head named Bust Rod). The whole look of the film, in fact, has a really appreciable visual tackiness about it. This viewer saw the black & white theatrical version, and it's rich the way that it combines its outre sets with animation. All the performances tend towards the utterly flamboyant, but they definitely fit this material. Appearing in cameos are Warhol Factory veteran Viva (as the former queen) and the great character actor Joe Spinell (as a lusty sailor).

All in all, "Forbidden Zone" is truly like nothing else that this viewer has seen before. It actually outdoes films like "Phantom of the Paradise" and "The Rocky Horror Picture Show" in terms of utter zaniness (however low-budget it may be).

Six out of 10.

"Forbidden Zone" is up there on the list of strangest films of all time. It's a hell of a lot of fun, even though it doesn't make much sense. The film was created by Matthew Bright and Richard Elfman from the 80's rock band Oingo Boingo. They also did the film's music. The story concerns a family who buys a house from a drug dealer. Little do they know that it has a door that leads to the sixth dimension. The film becomes a crazed B&W surreal musical of comical strangeness. Tattoo of "Fantasy Island" plays the king of the sixth dimension. There's a depraved queen, a giant frog, a topless princess, drag queens, gigantic dice props and other things that you have to see to believe. It's as if John Waters and Jodorowsky teamed up to film "the Wizard of Oz" in black and white. The funniest part of the film has to be the guys wearing jockstraps who make musical fart noises while boxing. This is definitely not your average musical!

No live-action movie has ever captured the anarchic feel of the rubbery Max Fleischer cartoons of the 1930s better than "Forbidden Zone." It's an LSD-fueled Betty Boop picture mixed with "Alice in Wonderland" and "The Inferno," all filtered through David Lynch's kaleidoscope (or run through R. Crumb's Cuisinart).

The story, such as it is, deals with the adventures of Frenchy Hercules, who lives over a doorway to the "Sixth Dimension," which is ruled by King Fausto (Herve Villechaize) and Queen Doris (Susan Tyrrell) with sadomasochistic glee. The whole flick really fits the Betty Boop formula perfectly--a shapely heroine (who loves to rumba) falls from her own bizarre "reality" into an even stranger one. Much mayhem and cool swing music ensue, as Frenchy's brother and grandfather (playing the roles of Bimbo and Koko the Clown from the old Fleischer cartoons) try to rescue the unfortunate girl.

This strange mix of animation and live action really has to be seen to be believed--all very low budget and very imaginative (a quality sorely lacking in movies lately). Fans of Oingo Boingo won't want to miss this one (especially group leader Danny Elfman's Cab Calloway-like turn as Satan in the flick's best scene). There are racial and ethnic stereotypes galore, but since this movie seems to exist in an entirely different universe, it doesn't come across as offensive.

Not for everyone--but a "can't miss" for some. Worth seeing just for the musical numbers alone.

I was so excited that this finally came out on DVD. My dad took us to see it ages ago when it first came out in theaters and it became an instant family favorite. That might sound weird since it's a bit on the racy side, but most of the sexuality is done in a very silly and, I think, innocent way, so it never made me feel awkward showing it to anyone.

I think it's the best musical ever and the low budget production works perfectly into the surreal plot. The actors are brilliant, a crazy cast that makes me laugh until it hurts.

Rent it! Buy it! Give a copy to a friend and blow their mind!

I avoided this film for years even though I seek out movies that appear to have been created by people with "unstable" minds (Jodorowsky, Ken Russell, Lynch and Jess Franco). The problem was the box cover art. The cartoon of Susan Tyrrell is so lurid and 80's it was really off-putting. And the promise of "offensive" humor made it sound like a low-rent John Waters movie. I've gone beyond "it's fun to be shocked" movies and demand some quality.

How surprised I was when I finally gambled on this one! I had seen the last minutes on IFC or some cable station late one night while flipping channels. My first thoughts were probably like anyone's would be..."What. The. Hell?" There was "Tattoo" from "Fantasy Island," a bunch of tap-dancing bimbettes, dice, a French woman, a guy in drag, two bald-headed freaks in their jockstraps...and a guy in a gorilla suit (with a bra on, no less!) All jumping around singing, "The Forbidden Zone!" like they had drank about 6 quarts of caffeine! The image rivaled Fellini!

I finally rented the beautifully re-mastered DVD after still more concern about just what this movie WAS exactly. I was absolutely riveted for the entire running time. I can't think of a single movie in history like this one, and I've seen some real corkers! The opening musical number, using an old recording of the song "Some Of These Days" as a background track, is eye-poppingly brilliant. I still don't know how it was done, certainly not with the skills and technology of a low-budget filmmaker in 1980. But it speaks to me on an unconscious level, dark and brooding yet fanciful and jolly (the slick dancing butler who appears out of nowhere is one of the most delightfully ridiculous and satisfying surreal moments I've seen in years). I was very skeptical that the momentum and creativity could be sustained, and it never did reach that peak again (although the "Pico And Sepulveda," "Witche's Egg" and Alphabet numbers come close), but it couldn't have...I don't think it IS possible to sustain that level forever, it would drive the viewer away.

The plot, involving a family discovering a door that leads to the 6th dimension where a queen and king (the unbelievably game Ms. Tyrrell who deserves an award of some kind for her brave and perfect-pitch performance, and the charming Herve, who she was apparently dating at the time?), is absolutely superfluous, merely an excuse for the music and visuals, and I'd have it no other way personally. It's like "Alice In Wonderland." Any adaption that tries to assign a "story" to the proceedings has missed the point entirely; like a dream, there is an internal logic...but the rules and boundaries of reality are not welcome!

The film is creaky in places, of course...it shows it's no-budget roots frequently, the pace is so hectic as to be head-ache inducing in certain parts and most dismaying of all is the constant interruption of lewdness just for the sake of lewdness, as if the filmmaker's were all horny teens who wanted to get as much naughty sex and dirty humor in as possible (Hint: the probably were!) The acting is by-and-large, with the exception of the foul-mouthed, shrieking, Disney-queen-from-hell Ms. Tyrell, pretty amateurish, even though everyone throws themselves into the production full-force (the screen writer bravely spends the whole film running around in his underpants!) But what it lacks in maturity it makes up for in execution. I kept sitting there shaking my head...these are real dancers, the choreography is wonderful, the animation and effects are stunning...and you can't ignore the score!

I don't know how much tinkering has gone on with this re-master, but the things that Danny Elfman was doing with the film score, weaving it in and out with old 30's recordings and New Wave stylings, as well as his more familiar ska style of the 80's...it's just breathtaking. If you are any sort of fan of Elfman's work, soundtrack or otherwise, you probably already have this music. If you're still new to it as I was, you'll become an instant fan. You cannot deny it, Elfman is a genius.

Like anything that seems completely nonsensical at first (example, Fellini's Satyricon), a lot of things in this film probably make more sense the more you delve into it. The DVD features explain that the "tone" of the film is an attempt to capture the live performance style of Elfman and his early "Oingo Boingo" incarnation, as a theatrical troupe. There's the obvious reference to Fleischer/Betty Boop cartoons that don't get seen much anymore. I have no idea who "The Kipper Kids" were but I assume audiences at the time would have recognized them. Certainly Herve was recognizable, if hardly comforting, in the weird world of this film.

I take a great deal of comfort in knowing that the man at the helm of this film, Danny Elfman's brother, admits that he was not inspired to make this movie by the use of any drugs. All too often in today's world we are prone to assume that the only way someone can come up with something genuinely original, creative and surreal is to assume that chemicals are responsible. Certainly I can imagine the experience of watching this film in an altered state of mind would be a "trip." However, hats off to people who find and appreciate the merry lunacy and joyfully insane magic that can be found in the every day world...if you care to look! I'm sorry that the film didn't take the director anywhere, but not surprised...it's not something I would easily recommend to just anyone...but I'm glad Elfman seems to have enjoyed a revival of his project, and is getting some recognition