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Forbidden Zone
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Forbidden Zone
Theatrical reissue poster
Directed byRichard Elfman
Screenplay by
Story byRichard Elfman
Produced byRichard Elfman
Starring
CinematographyGregory Sandor
Edited byMartin Nicholson
Music byDanny Elfman
Production
companies
Hercules Films, Ltd.
Carl Borack Productions
Distributed byThe Samuel Goldwyn Company
Release dates
  • March 28, 1980 (1980-03-28) (Los Angeles)
  • March 21, 1982 (1982-03-21)
(United States)
Running time
74 minutes
CountryUnited States
LanguageEnglish
Budget~$100,000

Forbidden Zone is an American absurdist musical fantasy comedy film produced and directed by independent filmmaker Richard Elfman,[1] and co-written by Elfman and Matthew Bright. Shot in 1977 and 1978, the film premiered in 1980 and was distributed in 1982.[2][3] Originally shot on black-and-white film, Forbidden Zone is based upon the stage performances of the Los Angeles theater troupe The Mystic Knights of the Oingo Boingo, of which Elfman, Bright and many of the cast and crew were a part, and revolves around an alternate universe accessed through a door in the house of the Hercules family.[3]

The composing debut of Danny Elfman, it stars Hervé Villechaize, Susan Tyrrell and members of the Mystic Knights, with appearances by Warhol superstar Viva, Joe Spinell and The Kipper Kids. Villechaize kicked his cheque back into production and even painted sets on weekends. The only paid actor was Phil Gordon, who played Flash; all the other SAG actors put their money back into the show.[4]

The film was made as an attempt to capture the essence of The Mystic Knights of the Oingo Boingo's live performances in a cinematic sense, and also as a means for both director Elfman to retire from music to work on film projects, and to serve as a transition between the group's former cabaret style and a new wave-based style.[2][4] Amid negative reactions to content in the film that had been perceived as being offensive, Forbidden Zone was screened as a midnight movie, where it was met with positive notices, and developed a large and eventually worldwide cult following.[2][4] In 2004, the film was digitally restored and released on DVD, and in 2008, the film was colorized.[5]

Said Elfman, "Doing anything original is taking a chance. Financially it bankrupted me and we lost our house. But I'm still glad I did it (although I'd change a few things if I had a time machine, of course)."[6]

A prospective sequel, entitled Forbidden Zone 2: The Forbidden Galaxy, has long been in development by Elfman, who launched a successful crowdfunding campaign in 2014 to raise an initial sum. As of 2019, the sequel is still in the stages of development but regularly updated and discussed by Elfman.[7] Elfman has also licensed Forbidden Zone as an intellectual property for manufacturers to produce collectibles based on the film's characters.[8]

Plot

[edit]

On "Friday, April 17" at 4 p.m. in Venice, California, Huckleberry P. Jones (pimp, narcotics peddler, and slumlord) enters a vacant house that he owns. While stashing heroin in the basement, he stumbles upon a mysterious door and enters it, falling into the Sixth Dimension, from which he promptly escapes. After retrieving the heroin, he sells the house to the Hercules family. On their way to school, Frenchy Hercules and her brother Flash talk with Squeezit Henderson, who says that, while being beaten by his mother, he has a vision of his transgender sister René, who had fallen into the Sixth Dimension through the door in the Hercules' basement.

Frenchy returns home to confide in her mother, and decides to take a "little peek" behind the basement's forbidden door. There, she is captured by the perpetually topless Princess, who brings Frenchy to the rulers of the Sixth Dimension, the midget King Fausto and his queen, Doris. When the king falls for Frenchy, Doris orders their frog servant, Bust Rod, to lock her up. To make sure that Frenchy is not harmed, Fausto tells Bust Rod to take Frenchy to Cell 63, where the king keeps his favorite concubines (as well as René).

The next day at school, Flash tries to convince Squeezit to help him rescue René and Frenchy. When Squeezit refuses, Flash enlists the help of Gramps instead. In the Sixth Dimension, they speak to an old Jewish man who reveals how to help Frenchy escape, but they soon are captured by Bust Rod. Doris interrogates Flash and Gramps before lowering them into a septic tank. She then plots her revenge against Frenchy, relocating all the denizens of Cell 63 to a torture chamber. She leaves the Princess to oversee Frenchy's torture and execution. However, when a fuse is blown, the torture is put on hold and the prisoners from Cell 63 are relocated to keep the King from finding them.

After escaping the tank, Flash and Gramps come across a woman who says that she was once happily married to the king, until Doris stole the throne by seducing her. The ex-queen has been sitting in her cell for 1,000 years, and has been writing a screenplay to keep her sanity. Meanwhile, Pa Hercules is blasted through the stratosphere by an explosion caused by improperly extinguishing his cigarette in a vat of flammable tar during his work break at the La Brea Tar Pit Factory. After re-entry, Pa falls through the basement and into the Sixth Dimension, where he is imprisoned.

Finding a phone, Flash calls Squeezit and again asks for his help. Squeezit agrees to help rescue Frenchy and René. In the Sixth Dimension, he is captured by Satan, with whom he makes a deal to bring him the Princess in exchange for Satan's help freeing René and Frenchy. Squeezit accomplishes this task, but failed to include himself in the deal to rescue his friends, and the devil has him decapitated. Queen Doris sends Bust Rod to keep an eye on the king, and to ensure he does not find out where she has hidden Frenchy.

Fausto catches Bust Rod and forces him to lead him to Frenchy and René, whom he orders to leave the Sixth Dimension to avoid the Queen's wrath. However, en route to safety, René is stricken with pseudo-menstrual cramps, and they are again captured by the frog. Squeezit's head, which has now sprouted chicken wings, finds the king and reveals what has happened.

While preparing to kill Frenchy, Doris is confronted by the ex-queen, and the two engage in a cat-fight; Doris eventually coming out as the victor. Just as she is about to kill Frenchy, Fausto stops her, explaining that Satan's Mystic Knights of the Oingo Boingo are holding the Princess hostage, and will kill her should anything befall Frenchy. Flash and Gramps arrive, and Flash is knocked down by Gramps. Ma Hercules enters and, seeing a seemingly dead Flash, shoots Doris. Fausto mourns Doris, then marries Frenchy.

The surviving characters later plan to take over everyone and everything in the Galaxy.

Cast

[edit]
  • Hervé Villechaize as King Fausto of the Sixth Dimension
  • Susan Tyrrell as Queen Doris of the Sixth Dimension / Ruth Henderson
  • Gisele Lindley as The Princess
  • Jan Stuart Schwartz as Bust Rod
  • Marie-Pascale Elfman as Susan B. "Frenchy" Hercules.
  • Virginia Rose as Ma Hercules
  • Ugh-Fudge Bwana (Gene Cunningham) as Huckleberry P. Jones / Pa Hercules
  • Phil Gordon as Flash Hercules
  • Hyman Diamond as Gramps Hercules
  • Toshiro Boloney as Squeezit Henderson / René Henderson
  • Danny Elfman as Satan
  • Viva as The Ex-Queen
  • Joe Spinell as Mr. Henderson
  • The Kipper Kids as Themselves
  • Kedric Wolfe as Miss Feldman / Human Chandelier
  • Herman Bernstein as Mr. Bernstein, the Old Yiddish Man
  • Richard Elfman as a masseuse and a prisoner

Musical numbers

[edit]
  1. "Forbidden Zone" (Danny Elfman) – Danny Elfman and The Mystic Knights of the Oingo Boingo
  2. "Some of These Days" (Shelton Brooks) – Pa Hercules, Frenchy and Ma Hercules
  3. "Beautiful Dreamer" (excerpt) (Stephen Foster) – Ma Hercules
  4. "La Petite Tonkinoise" (Vincent Scotto, Henri Christiné, Georges Villard) - Frenchy (voice of Josephine Baker)
  5. "Bim Bam Boom" (Noro Morales, Johnny Camacho) - The Kipper Kids and Miguelito Valdés
  6. "Witch's Egg" (Susan Tyrrell, Georg Michalski) – Doris
  7. "Pleure" (Jérôme Savary) – Frenchy (voice of Josephine Baker)
  8. "Alphabet Song" (D. Elfman) – Miss Feldman, Flash, Squeezit and Schoolkids
  9. "Queen's Revenge" (D. Elfman) – Doris, Frenchy, Princess, René and Prisoners
  10. "Pico and Sepulveda" (Eddie Maxwell, Jule Styne) – Pa Hercules and Chorus (voices of Felix Figueroa & His Orchestra)
  11. "Squeezit the Moocher" (Cab Calloway, Irving Mills, D. Elfman) – Squeezit, The Princess, Satan and The Mystic Knights of the Oingo Boingo
  12. "Yiddishe Charleston" (Billy Rose, Fred Fisher) – Mr. Bernstein and Doris
  13. "Finale" (D. Elfman, R. Elfman, Nicholas James) – Frenchy, Fausto, Princess, Doris, Ex-Queen, The Kipper Kids, The Mystic Knights of the Oingo Boingo, Flash, Gramps, René, Squeezit, Huckleberry and Company

Production

[edit]

Development

[edit]

The Mystic Knights of the Oingo Boingo were formed in late 1972 by Richard Elfman, as a musical theatre troupe.[3] As Richard's interest shifted to filmmaking, he passed leadership of the band to younger brother Danny Elfman. Danny, who had begun to lose interest in musical theatre, had gained interest in other musical styles such as ska, and had become "sick of lugging around so much stuff with the theatre troupe. Towards the end", he remembers, "it was a big production... there was, like a semi full of stuff. And that was becoming burdensome. So, for me, the idea of being a band that can fit all their gear into a van and set up in a club, and an hour later be playing, became a goal."[3] Production began during a transitional period when the group was moving from its cabaret style towards a more pop/rock format; by the time the film was completed, the band had shortened its name to Oingo Boingo.[3]

The film was originally conceived as The Hercules Family, a 16mm musical that consisted of twelve musical numbers and a story loosely constructed around them. But as the project grew to 35mm and the storyline evolved, Richard Elfman found himself re-shooting many of the original scenes to fit the new film.[9] Two sequences from the original 16mm footage were featured on the 2004 DVD release: one of Danny Elfman, as Satan, performing "Minnie the Moocher" (later reshot with visual elements borrowed from the original 16mm sequence and alternate lyrics), and another of Marie-Pascale Elfman, singing "Johnny". The sequence with Elfman as Satan, and members of the Oingo Boingo as his minions, came from live shows, in which the band would perform Cab Calloway tunes like "St. James Infirmary Blues" in the same costumes.[3]

Marie-Pascale Elfman, at the time of shooting, was married to director Richard Elfman. She designed the film's expressionistic sets and starred in the film. Actor and former Mystic Knight Gene Cunningham helped fund the film. When Cunningham and Elfman ran out of money during production, Richard and Marie-Pascale Elfman helped finance by selling houses, before Carl Borack put money into the production in order for Elfman to complete the film.[3] According to Elfman, he had originally intended the film to be screened in color, stating that the original plan was to ship the film to China, where each frame would be hand-tinted, but that this plan was not practical within the production costs.[10] Elfman ultimately went bankrupt during the production of Forbidden Zone and had to assign the rights away in order to finish the film; in 2015, Elfman regained the full rights to Forbidden Zone.[11]

Casting

[edit]

Actor Hervé Villechaize was a former roommate of co-writer and co-star Matthew Bright;[4][9] Villechaize had previously dated co-star Susan Tyrrell.[2] The Elfmans' grandfather, Herman Bernstein, also appeared in the film, and Richard Elfman's accountant appeared under the name "Hyman Diamond" because Elfman had no idea whether or not he wanted to be credited.[9] Others who worked on the film include The Kipper Kids (Brian Routh and Martin von Haselberg), Joe Spinell, and former Warhol superstar Viva.

Writing

[edit]

Forbidden Zone featured Bright's first work on film, and his only work as an actor (under the name "Toshiro Baloney" in the color version). A founding member of the Mystic Knights, Bright later became a screenwriter and director in his own right. Bright's credits include Freeway, Ted Bundy, and Tiptoes. Bright and director Richard Elfman's only dispute during the screenwriting process was over a scene in which his character, Squeezit, was originally to have been beaten up for eight minutes and having the walls wiped with his blood.[3] Another scene cut from the script would have had Squeezit being castrated.[9] According to Bright, "I didn't have any sense of limits or balance then, at the time, I... you know, I was just, didn't know what I was doing. I needed reining in."[3] During filming, Bright was sitting on the set in costume when a lighting stand fell onto his head, cracking his skull, and he had to be rushed to the hospital. When Bright returned to work the next day, he had a mild concussion and whiplash, but he continued with filming.[9]

Directing

[edit]

Richard Elfman had never gone to film school when production started, and "I didn't know what I was getting into."[3] The production, from its original 16mm roots to its finish, took three years. Cast and crew members would sleep on the film's stage, wearing spare gorilla suits to stay warm.[3] Among the film's artistic influences included 1940s big band and jazz music and Max Fleischer cartoons of the 1930s (such as Betty Boop).[3] Some of the film's cast was made up of non-professionals cast off the street. In one scene, Richard Elfman brought in a young man to mouth the words of "Bim Bam Boom", but when he was put in front of the camera, he stood there as the scene was shot. Elfman left the scene in the film by editing in Bright's lips over the actor's face.[9] Another scene featured homeless men.[9]

Animation

[edit]

The film's animation was created by then-unknown animator John Muto. Because of the film's low budget, Muto created all of the film's animation sequences himself.[3] Muto made frequent use of airbrush techniques to establish for himself a distinctive style.[3] For sequences in which live-action and animation were combined, the actors were photographed in tight head-on and profile shots, and the photos were cut out and pasted into the animation in a style recalling Terry Gilliam's work on Monty Python's Flying Circus.[3] Muto also credits the Fleischer Brothers as another inspiration.[3]

Music

[edit]

Forbidden Zone was the first film scored by Danny Elfman, who would eventually score, among other films, Pee-wee's Big Adventure, Batman, The Nightmare Before Christmas, and Charlie and the Chocolate Factory. The song Witch's Egg was written by Georg Michalski and Tyrrell.[9] In some scenes, characters lip synch to old records, including recordings by Cab Calloway, Josephine Baker, and others.

The alphabet song performed in a classroom scene was inspired by the "Swinging the Alphabet" song from The Three Stooges short Violent Is the Word for Curly.[9]

For the "Yiddishe Charleston" scene, Richard Elfman had shot the sequence with him lip-syncing to an old recording of the song, but was later unable to acquire the rights to the recording, and had to record a new version of the song while attempting to sync the new recording with the footage.[9]

The film's soundtrack has also become popular, and its theme song was eventually reused by Danny Elfman, who rearranged it as The Dilbert Zone for use as the theme for the television series Dilbert.

Release and reception

[edit]

Forbidden Zone premiered at the Los Angeles Filmex film festival in 1980. The film played at the New Beverly Cinema as a midnight movie beginning March 28,[12] and added three theatres in San Francisco, Seattle, and Columbus in May.[13] The film received another limited theatrical release through The Samuel Goldwyn Company in 1982.[2][14] Following its theatrical run, Forbidden Zone fell out of circulation for roughly twenty years, though bootleg recordings helped find the film new life as a highly sought-after and well-regarded cult film.[5] In 2004, Film Threat magazine dubbed Forbidden Zone "the Citizen Kane of underground movies".[15] As of 2024 the film has a score of 83% on review aggregator website Rotten Tomatoes, with an average rating of 6.6/10.[16]

Home media

[edit]

The film was digitally restored and released on Region 1 DVD by Fantoma in 2004, receiving a Region 2 release by Arrow Film Distributors Ltd. in 2006.[14] In 2008, with Elfman's blessing and input, a colorized version of Forbidden Zone was issued on DVD by Legend Films,[17] and was later screened in exhibition at the New York Museum of Modern Art in 2010.[5][18] Arrow released a Blu-Ray edition in the UK in 2012, followed by "Ultimate Edition" North American Blu-Ray and DVD releases by MVD Entertainment Group in 2015; all contained both the black-and-white and color versions.[19][20]

Controversies

[edit]

Upon its original release, Forbidden Zone was singled out for criticism for its use of broadly-drawn racist, homophobic, antisemitic and anti-Christian visuals and characters.[9][21] Elfman, himself of Jewish heritage, has disputed many of these accusations, noting that elements seen as homophobic were inspired by his time as a director and occasional performer in the San Francisco avant-garde drag troupe The Cockettes, while the character of "Mr. Bernstein", accused of being an exaggerated Jewish stereotype, was played by Elfman's Jewish grandfather Herman Bernstein, of whom Elfman wryly asserted "wasn't acting".[9][21]

In particular, Forbidden Zone has been criticized for its brief use of surreal blackface. In 2020, Elfman digitally removed the blackface images and replaced them with "clown-face". In an interview with Dread Central, he explained "Going back to our very first test screening in 1980, there were a few things that really bugged me. The film is an absurdist fever-dream with hundreds of crazy, cartoonish images. I regretted the few seconds of Max Fleischer-era black-face and wanted to change it to 'clown-face'. But the film had – literally – bankrupted me, I had lost control and couldn't complete it exactly the way I wanted. Well, forty years later, I fucking can!". Elfman's director's cut was released in early 2021.[22]

Legacy

[edit]

Sequel

[edit]

In June 2009, it was revealed through an entry on IMDb that Elfman had been developing a sequel to Forbidden Zone entitled Forbidden Zone 2: The Forbidden Galaxy.[23] The prospective project was more formally detailed in March 2014 when Elfman launched a successful crowdfunding campaign on IndieGoGo to raise part of the film's financing. As of the campaign's most recent update in May 2023, Elfman confirmed the project is "still alive" and noting that he "will not give up on FZ2", describing Forbidden Zone 2 as "number one on his bucket list." "As long as I am breathing, I will do Forbidden Zone 2!"[7]

Stage show

[edit]

In 2010, Forbidden Zone was performed as a live stage show with the support of Richard Elfman. It is a production of the Sacred Fools Theater Company, and premiered there in Los Angeles on Friday, May 21, 2010.[24]

Mixed media

[edit]

Richard Elfman entered into a licensing deal with the creative resource company, PANGEA, to provide licensees with the opportunity to create merchandise based on the cult film. According to articles that appeared in the media on May 3, 2016, the arrangement calls for content to be created that will include a Storyboard Book of the original film, featuring commentary and anecdotal notes from director. Shot glasses and sculpted pieces were among the list of immediate items that would be released. A fantasy novella series was also noted as being under development.[8]

Rocky Horror "shadow cast" companies have begun performing screenings of the film. Elfman sometimes participates in these live performances. He enters in a clown suit and beats a big bass drum that is accompanied by a Brazilian percussion ensemble—reminiscent of his former group, the Mystic Knights of the Oingo Boingo.[25][26]

The Syfy Channel has run a teaser piece musical number,[27] "Princess Polly" from Forbidden Zone 2: The Forbidden Galaxy on its show The Monster Man, starring Cleve Hall.[28] Elfman opens the Forbidden Zone shadow cast shows (after the march in) with Erin Holt singing Princess Polly live in front of her screened “monster” image on stage.[29]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia
from Grokipedia
is a 1980 American absurdist musical fantasy comedy film written and directed by , featuring surreal animation, vaudeville-style performances, and original songs performed by the New Wave band , fronted by Elfman's brother . The plot centers on teenager , who discovers a hidden door in her family's basement leading to the Sixth Dimension, a bizarre underworld ruled by a diminutive king (played by Herve Villechaize) and his tyrannical queen (), populated by grotesque creatures and cabaret acts. Produced on a low budget using a mix of live-action, hand-drawn animation, and stage-like sets, the film premiered at the Filmex festival and gained a dedicated through midnight screenings at venues like the , celebrated for its unhinged energy and boundary-pushing eccentricity akin to early visuals. Notable for launching Elfman's directing career and showcasing Oingo Boingo's music before Danny Elfman's mainstream success in film scoring, it has endured as a staple despite limited initial distribution. The film includes controversial elements such as racial caricatures and a sequence, which director Richard Elfman later digitally altered in a 2020 restoration to remove the latter, citing no intent to offend but adapting to contemporary sensitivities while preserving the original's provocative spirit.

Narrative and Style

Plot Summary

Forbidden Zone follows the eccentric Hercules family, residing in a Los Angeles home with a basement containing a concealed door to the Sixth Dimension, a surreal alternate realm accessed via a passage resembling human intestines. The story begins with local figures, including a pimp named Grunchio, interacting with the property before the family's discovery. Discontented high school student Frenchy , seeking escape from her mundane life and a troubling relationship with teacher Mr. Biggs, enters the door out of curiosity. Upon arrival in the Sixth Dimension, Frenchy is captured by its rulers: the diminutive King Fausto, who develops an immediate infatuation with her, and his domineering wife, Queen Doris, who imprisons Frenchy in a dungeon alongside other captives. Frenchy's brother and eccentric grandfather attempt a rescue, navigating the dimension's chaotic inhabitants, including the skeletal the Moocher and a devilish figure named . Interspersed musical sequences featuring vaudeville-style performances advance the narrative, culminating in confrontations involving royal intrigue, magical elements, and the family's efforts to return home, resolving with Frenchy's liberation and the dimension's internal power struggles.

Musical Sequences

The musical sequences in Forbidden Zone constitute the film's primary structural element, originally conceived as twelve standalone performances by the Mystic Knights of the before being linked by a loose framework. These numbers draw from diverse influences, including 1920s-1930s standards, calypso, , and proto-rap, often integrated with live-action and exaggerated to amplify the film's . composed the majority of original songs, performed by band members and cast, while select covers evoke Prohibition-era and scat styles, underscoring the troupe's roots in musical theater experimentation. The sequence "Some of These Days," a cover of Shelton Brooks' 1910 standard, opens the domestic subplot with the family—portrayed by H. Michael Elizer, , and Phil Gordon—lip-syncing in a cramped living room , complete with top hats and synchronized taps mimicking precision amid chaotic family dynamics. In the Sixth Dimension, "Yubba Gabba You Two" unfolds as a calypso-infused during King Fausto's feast, with Elfman and the Knights delivering rhythmic pleas laced with nonsense syllables, accompanied by rotoscoped visuals of writhing characters to heighten the disorienting eroticism. "Squeezit the Moocher," an original track echoing Cab Calloway's scat innovations, animates the diminutive 's feverish visions of his sister, blending jazzy improvisation with grotesque and underscoring themes of forbidden desire through improvised vocal flourishes. "Pico and Sepulveda" emerges as a pioneering rap-like interlude, where and ensemble members chant interlocking street names—"Pico and Sepulveda, Washington and La Cienega"—over a percussive beat, functioning as both navigational absurdity and meta-commentary on , performed in a factory-set production number with mechanical dances. Queen Doris, played by , dominates her "Queen's Revenge" aria with theatrical venom, an original piece in mock-operatic style that propels her pursuit of Grampa , featuring orchestral swells and Tyrrell's rasping delivery amid throne-room pageantry. Additional sequences like "Witch's Egg," a percussive by the Pimp (Gene Cunningham) invoking dark rituals, and the closing "Finale" medley reprise motifs from prior numbers, reinforcing the film's cyclical descent into madness with full-cast choral escalation.

Personnel

Cast

The principal cast of Forbidden Zone (1980) features performers primarily drawn from the Mystic Knights of the Oingo Boingo troupe, supplemented by character actors. portrays King Fausto, the diminutive ruler of the Sixth Dimension. plays the of Queen Doris, Fausto's domineering consort, and the Henderson family matriarch Ruth. Marie-Pascale Elfman appears as Frenchy, the teenage protagonist who discovers the forbidden realm.
ActorRole
King Fausto of the Sixth Dimension
Queen Doris of the Sixth Dimension / Ruth Henderson
the dwarf / René Henderson
Marie-Pascale ElfmanFrenchy (Susan)
Gisele LindleyThe Gimp
Virginia RoseMa Hercules
Phil GordonFlash Hercules
Hyman DiamondGramps Hercules
Supporting roles include as the narrator and voice of , alongside other members in ensemble parts such as prisoners and fantastical creatures. The film's low-budget production incorporated non-professional actors from the troupe, contributing to its raw, theatrical style.

Filmmaking Team

Richard Elfman directed Forbidden Zone, marking his feature film debut after founding the avant-garde performance troupe Mystic Knights of the Oingo Boingo, from which much of the production drew its stylistic influences. Elfman also served as producer and co-wrote the screenplay with Matthew Bright, Martin Nicholson (credited as Nick L. Martinson), and Nicholas James (credited as Nick James). Gregory Sandor handled , employing black-and-white film stock to capture the film's surreal, low-budget aesthetic during in 1979. duties fell to Martin Nicholson and Nicholas James, who managed the integration of live-action sequences with rotoscoped segments. , Richard's brother and lead singer of , composed the original score and songs, contributing to the film's eclectic musical numbers performed by troupe members. Marie-Pascale Elfman, the director's wife at the time, designed the production, creating the film's distinctive expressionistic sets that evoked and German Expressionism. She also received a producer credit alongside Richard Elfman and Gene Cunningham.

Development and Pre-Production

Origins and Concept

founded The Mystic Knights of the Oingo Boingo in 1972 as a surrealist street theater troupe in , drawing from influences like , , and European performance to create elaborate, chaotic stage shows blending music, , and visual . The group, initially comprising around 50 members including musicians and actors, performed at unconventional venues and emphasized live improvisation over scripted narrative, fostering a through its rejection of conventional entertainment norms. By the late , as the troupe shifted toward a streamlined rock band format—later rebranded as under Danny Elfman's vocal leadership—Elfman recognized the risk of losing the original ensemble's theatrical essence amid this evolution. To capture and extend the Mystic Knights' live energy into cinema, conceived Forbidden Zone in the waning years of the troupe's phase, envisioning it as a direct screen of their experiences rather than a traditional plotted . Co-written with , the project used a skeletal storyline—a dysfunctional family's discovery of a portal to the tyrannical "Sixth Dimension"—merely as scaffolding for musical numbers, sight gags, and character vignettes showcasing troupe performers like Hervoie Villechaize as the diminutive King Fausto. This framework prioritized unpolished, low-fi production values, with Elfman intentionally forgoing polish to mirror the raw, handcrafted feel of 1920s-1930s cartoons such as ' The Skeleton Dance, incorporating stylistic nods to Cab Calloway's scat performances and early serials while subverting their racial and gender tropes through exaggerated . began in 1979 on a shoestring budget sourced from private investors and deferred union wages, filmed in black-and-white on 16mm stock primarily in Elfman's Venice Beach home and local sets to maintain an intimate, insurgent aesthetic. The film's conceptual core lay in its role as a for the Mystic Knights' interdisciplinary madness, with and troupe musicians providing an integrated score of original songs— eschewing conventional for diegetic performances that propelled the narrative's fantastical detours, including encounters with frog people and a sentient devil. Elfman's vision rejected Hollywood gloss, instead championing causal authenticity through practical effects, hand-tinted color additions in later cuts, and unapologetic eccentricity, positioning Forbidden Zone as an anti-commercial artifact born from performance art's DIY ethos rather than market-driven storytelling. This approach, rooted in Elfman's post-1960s countercultural experiments, aimed to evoke an "alternate-universe" immersion where budgetary constraints enhanced the otherworldly dislocation.

Financing and Planning

The production of Forbidden Zone operated on a modest budget of approximately $100,000, typical for independent films of the era lacking major studio backing. Director and his then-wife, actress Marie-Pascale Elfman, personally financed much of the project by engaging in flipping—purchasing, renovating, and reselling houses to generate funds. This approach reflected the grassroots, self-reliant ethos of the film's origins within the Mystic Knights of the Oingo Boingo theater troupe, where Elfman sought incremental funding without relying on traditional investors. Planning for the film emphasized cost efficiency and , with centered on adapting elements from the troupe's live performances into a cinematic format, including custom set designs by Marie-Pascale Elfman that doubled as funding mechanisms through her activities. The absence of formal financial backers necessitated flexible scheduling and resource allocation, prioritizing in-house talent from the group for roles, music, and effects to minimize external expenditures. When initial funds depleted midway through shooting, additional capital from associate producer Carl Borack enabled completion, underscoring the precarious, piecemeal nature of the venture. This bootstrapped model, while enabling creative freedom, later contributed to financial strain for Elfman post-release due to unresolved music rights issues.

Production Process

Principal Photography

Principal photography for Forbidden Zone commenced in late October 1977 on a in , , and concluded in late August 1978. The production adhered to a constrained 21-day shooting schedule distributed across ten months, reflecting the film's independent, low-resource origins. Filming occurred primarily indoors on studio sets, with the narrative contextually tied to Venice, California, though no exterior is documented beyond the sound stage. The project originated as a planned 16 mm musical short but transitioned to 35 mm negative format during production, necessitating reshoots of initial footage to maintain technical consistency. Cinematographer Gregory Sandor captured the live-action sequences in black-and-white, emphasizing the film's vaudeville-inspired aesthetic derived from the Mystic Knights of the theater troupe. Sets were fabricated from painted paper by production designer Marie-Pascale Elfman and actor , underscoring the handmade, improvisational approach amid a "no budget" constraint where only Villechaize received salary, with other participants drawn from the troupe contributing voluntarily. Director described the process as guerrilla-style, with weekend shoots dictated by limited equipment and funding, fostering a collaborative environment where cast members doubled as performers, stunt coordinators, and crew. This fragmented timeline accommodated the integration of musical numbers and surreal elements, though it prolonged completion relative to conventional features; costs were deferred until later financing secured. The absence of paid crew beyond essentials highlighted systemic challenges for micro-budget independent films of the era, relying on personal networks rather than institutional support.

Animation Techniques

The animation sequences in Forbidden Zone were created by John Muto, credited as the primary animator for the film's animated segments. Principal live-action photography spanned 21 days across ten months on a soundstage, followed by several weeks dedicated to Muto's animation work, necessitated by the production's shoestring that precluded a larger team. Muto's contributions feature a hand-drawn, two-dimensional style evoking the anarchic, rubbery distortions of 1930s cartoons, such as those in shorts, with surreal jazz-infused vignettes that transition fluidly into live-action via and . This aesthetic manifests in deranged sequences like the film's introduction and sixth-dimension explorations, incorporating bizarre, Escher-like motifs of rolling eyes, cascading forms, and monstrous entities inspired by such as Zap. To integrate with the narrative's interdimensional themes, employed rudimentary techniques, including stop-motion elements overlaid on live-action footage for hybrid effects that amplified the film's vaudeville-esque absurdity. These methods, executed solo under time and resource constraints, prioritized visual eccentricity over polished execution, aligning with the film's overall aesthetic of deliberate and cabaret roots from the Mystic Knights of the troupe.

Music Composition and Scoring

The score and original songs for Forbidden Zone (1980) were composed by , who handled all musical elements in collaboration with the Mystic Knights of the , the theatrical precursor to his later band ; this marked Elfman's first professional film scoring credit. Arrangements were provided by , with performances executed by the full ensemble. Elfman composed the material rapidly to fit the film's low-budget production schedule, blending original cues with select covers to underscore the narrative's surreal transitions between live-action and animation. Stylistically, the music fuses new wave, , , and influences, incorporating Afro-Latin percussion rhythms—reflecting director Richard Elfman's background in such traditions—and eccentric elements like African-esque chants and 1930s-inspired motifs akin to Cab Calloway's work. Tracks evoke chaotic family themes, funky , and soulful interludes, such as the piano-driven "Love Theme – King and Queen," designed to amplify the film's absurdist tone without overpowering its visual eccentricity. Covers include standards like (Shelton Brooks, 1910) and variants, integrated alongside originals such as "Forbidden Zone" (2:51) and "Squeezit the Moocher" (4:50). Recording occurred via a mix of live band sessions and overdubs, constrained by the independent production's limited resources, yet capturing the group's transition from cabaret-style to more structured new wave sounds. The resulting score ties emotional beats to the story's bizarre fantasy elements, with himself voicing and portraying , whose musical sequences further embed the compositions within the . The original motion picture soundtrack, issued by Records in 1980, comprises 20 tracks totaling 38:48, including two vintage source cues on vinyl editions; it remains a collectible item reflecting the era's scene.

Release and Distribution

Initial Release

premiered on March 15, 1980, at the Filmex festival in Los Angeles. The film, directed by Richard Elfman, followed its principal photography completed in 1979 with a limited theatrical rollout shortly thereafter. On March 21, 1980, it entered limited domestic release distributed by Samuel Goldwyn Films, receiving an R rating for its explicit content and unconventional narrative. The black-and-white musical fantasy, running 76 minutes, targeted niche audiences through select screenings rather than wide distribution, reflecting its low-budget origins and avant-garde style. Initial theatrical engagement was minimal, with no major reporting available, indicative of its underground appeal and lack of mainstream promotion. Screenings expanded modestly to cities like and in subsequent months, fostering early cult interest among crowds. The release capitalized on the film's ties to the troupe, drawing performers and fans familiar with Elfman's stage work.

Home Media and Restorations

The film received limited home video distribution in the early 1980s via VHS tapes from , which became rare collector's items due to the movie's cult status and scant initial availability. These releases predated widespread digital archiving, preserving the original black-and-white presentation without enhancements. A digitally restored version debuted on DVD from Fantoma on August 31, 2004, featuring a remastered 5.1 Surround soundtrack and anamorphic 16:9 transfer from the original 1.78:1 frame, marking the first widespread accessibility for home viewers. Legend Films subsequently produced a colorized edition, released on DVD around July 29, 2008, which incorporated hand-applied tints to evoke the film's intended aesthetic while restoring additional footage such as Henderson's verse in "Queen's Revenge." Blu-ray editions began with the and Ultimate Edition from Elfo Media and MVD Visual on November 10, 2015, offering AVC-encoded transfers in 1.78:1 alongside , including both original and extended cuts with commentaries. The Collector's Edition followed on June 7, 2022, from MVD Visual/Ronin Flix, emphasizing a revised assembly with enhanced audio from Richard Elfman's original compositions and Danny Elfman's tracks, presented in both black-and-white and colorized variants for 75-minute runtime. These upgrades addressed print degradation from the 16mm source material, though some reviews noted minor artifacts in high-definition scans due to the low-budget origins.

Reception

Critical Evaluations

Upon its on September 29, 1980, Forbidden Zone received scant attention from major critics, reflecting its underground production and distribution, with only a handful of professional reviews aggregated over time. The film's aggregation on stands at 83% positive from 12 critic reviews, highlighting its "gleeful-strangeness" as a musical that outpaces subsequent entries in the genre for sheer audacity. scores it at 64 out of 100 based on five reviews, noting that while it fails to cohere as a , its "tuneful spectacle of weirdness" lacks equivalents and foreshadows influences in experimental cinema. Critics have praised the film's innovative blend of live-action, animation, and vaudeville-style musical numbers, crediting Danny Elfman's score—his first for a feature—for infusing surreal energy through eclectic compositions drawing from , Yiddish theater, and punk influences. Director Richard Elfman's direction is commended for evoking early Fleischer Brothers cartoons and Dadaist absurdity, with low-budget sets and costumes amplifying a hallucinatory quality that prioritizes visual invention over polished execution. Performances, particularly Herve Villechaize's unhinged King Fausto, are highlighted for their theatrical excess, contributing to the film's status as a deliberate affront to conventional storytelling. Conversely, detractors have lambasted the film for its overt vulgarity, racial caricatures—including an opening sequence with minstrelsy—and depictions of , which some view as gratuitous rather than satirical, rendering it inaccessible or indefensible to contemporary sensibilities. Production shortcomings, such as uneven pacing, amateurish , and a plot that devolves into disjointed sketches, are cited as undermining its ambitions, with one review describing it as "puerile" and lacking the wit of its cited inspirations like Robert Crumb's work. These elements, while intentional in the film's transgressive ethos, have led to accusations of insensitivity, particularly from outlets attuned to evolving cultural norms, though such critiques often overlook the 1980 context of underground film's boundary-pushing norms. Reevaluations in retrospective analyses emphasize Forbidden Zone's prescience in low-fi indie filmmaking, influencing later cult works by its unapologetic embrace of the grotesque and musical anarchy, yet affirm that its divisive content precludes broad acclaim, confining praise to niche audiences valuing raw originality over refinement. Mainstream media's reticence to engage positively stems partly from institutional aversion to its politically unfiltered humor, favoring sanitized narratives, though empirical viewer metrics—like sustained festival screenings and home video sales—underscore its enduring, if polarizing, artistic merit.

Audience Response and Cult Status

Forbidden Zone initially garnered limited theatrical attendance following its April 15, 1980, premiere in , with no significant success due to its unconventional style and provocative content. However, screenings as a attracted niche audiences who appreciated its surreal humor, vaudeville-inspired musical numbers, and unfiltered eccentricity, fostering early word-of-mouth enthusiasm among fans of underground cinema. Over subsequent decades, the film cultivated a dedicated , propelled by releases, including a digitally restored DVD in 2004 and colorized version in 2008, which expanded accessibility to appreciative viewers. Some screenings featured audience participation via "shadow casts" mimicking , enhancing its interactive appeal and solidifying its status among enthusiasts. Director has noted a "loyal and still growing audience," attributing endurance to the film's defiant originality despite criticisms of offensiveness. Contemporary metrics reflect sustained audience favor: on , it holds a 6.5/10 rating from over 5,800 user votes, praising its bizarre fantasy elements and Danny Elfman's debut score. Rotten Tomatoes audience score stands at 81%, with viewers highlighting its cult-classic weirdness and musical innovation as reasons for enduring appeal. This reception underscores Forbidden Zone's transformation from obscurity to a touchstone for fans of transgressive, low-budget .

Controversies

Accusations of Offensive Depictions

The 1980 film Forbidden Zone has faced primarily due to its use of in scenes featuring characters like the , portrayed by with darkened makeup during musical sequences. Critics and viewers have highlighted these elements as perpetuating racial stereotypes, with some describing the depictions as "extreme blackface" that contributes to an overall tone of racial insensitivity. Additional claims point to caricatured portrayals of Jewish figures and other ethnic stereotypes, interpreted by detractors as reinforcing anti-Semitic tropes amid the film's surreal, vaudeville-inspired aesthetic. Sexism allegations center on the film's treatment of female characters, often depicted as sexual objects in sequences involving nudity, implied , and exaggerated , such as the pimp character Frenchy beating his prostitutes. Reviewers have criticized these portrayals for reducing women to props in a male-dominated narrative of and dominance, with little agency beyond performative roles in musical numbers. Homophobic elements are cited in slurs and caricatures of queer-coded behaviors, contributing to broader claims of the film endorsing discriminatory attitudes through its boundary-pushing humor. Further controversies include accusations of anti-Christian and anti-Semitic content, with religious figures mocked in profane, satirical contexts, such as demonic rituals and blasphemous lyrics, leading some institutions like college campuses to ban screenings. These criticisms emerged prominently post-release, with initial reviews decrying the film's crude , sexual content, and "potentially offensive" material as unfit for mainstream audiences. In response to ongoing sensitivities, director announced in 2020 plans to digitally alter the scenes in future releases, acknowledging modern perceptions while defending the original intent as cartoonish exaggeration rather than malice.

Contextual Defenses and Artistic Intent

, the film's director, conceived Forbidden Zone as an extension of his Mystic Knights of the Oingo Boingo theatrical troupe's performances, aiming to translate their chaotic, musical absurdity into a low-budget feature film that parodied pre-war Hollywood musicals, vintage science fiction serials like , and surreal animation styles. Influenced by cartoons, German Expressionism, acts featuring and , and , Elfman intended the work as a "human cartoon" of visual and narrative excess, prioritizing boundary-pushing humor over conventional storytelling or moral messaging. The production, spanning three years with piecemeal funding and reshoots from 16mm to 35mm, reflected an ethos of uncompromised artistic risk, which Elfman later described as a deliberate rejection of polished in favor of raw, alienating fringe culture. Defenders of the film's controversial elements, including himself, contextualize them within its absurdist framework, arguing that stereotypical depictions function as satirical critiques of outdated Hollywood tropes rather than endorsements of bias, parodying "everyone" in a non-literal, fantastical realm where narrative logic is upended. has emphasized his upbringing in diverse South-Central communities, where ethnic differences were sources of shared humor rather than division, positioning the film's provocations as rooted in and intended to provoke laughter, not hatred or division. He has explicitly rejected interpretations of malice, such as claims of or anti-Semitism—dismissing the latter by noting that a Jewish moneylender character was modeled on his own grandfather—while framing critiques as a form of "insidious " that stifles original expression. Upon its 1980 release, the film encountered immediate backlash, including threats and a screening ban, which views as validation of its subversive intent to challenge norms, ultimately fostering a among those who appreciate its unapologetic weirdness. In response to specific elements like the brief blackface sequence in the "Squeezit the Moocher" number, Elfman has acknowledged regret since the film's premiere, describing it as an unintended misstep amid "hundreds of visual absurdities" and announcing in 2020 plans for digital alteration to "clownface" in restorations to align with contemporary sensitivities without diluting the overall absurdity. This concession, facilitated by effects collaborators, underscores a nuanced defense: while the core artistic vision remains intact as non-offensive surrealism—"never my intent" to shock divisively—the tweak preserves the film's homage to historical influences like 1930s vaudeville, where such tropes appeared in escapist entertainment, rather than realistic advocacy.

Legacy and Influence

Cultural and Artistic Impact

The film's soundtrack, composed by and performed by the Mystic Knights of the Oingo Boingo, blended , big band elements, and unconventional , influencing Elfman's subsequent career in film scoring. This early work, featuring tracks like "Squeezit the Moocher," showcased experimental vocal styles and rhythmic structures drawn from influences such as Russian composers Tchaikovsky and Prokofiev, establishing a template for Elfman's signature quirky, theatrical scores in later projects. Visually, Forbidden Zone drew from animations, German Expressionism, and comedy like , creating a surreal black-and-white aesthetic that critiqued early cinema through chaotic framing, exaggerated performances, and themes of sexuality. Its low-budget production techniques, including hand-drawn animation and kabuki-inspired staging, impacted underground and independent filmmakers by demonstrating how constrained resources could yield visually inventive, nightmarish fantasies with emotional resonance via music. The movie's emergence from the Elfman brothers' performance-art troupe, the Mystic Knights of the , bridged absurdist theater with pop culture parody, fostering a niche legacy in cult cinema that emphasized unfiltered eccentricity over commercial appeal. Indirectly, its reception among figures like propelled Danny Elfman's collaborations, including with , by highlighting his ability to merge with visual grotesquerie. Despite limited mainstream penetration, the film's enduring appeal lies in its role as a precursor to genre-blending indie musicals, with director staging live adaptations as late as the to sustain its performative influence.

Adaptations and Extensions

A sequel titled Forbidden Zone 2: The Forbidden Galaxy has been in development by director since at least 2009, expanding the original film's narrative into intergalactic adventures within the Sixth Dimension. initiated crowdfunding efforts, including a successful campaign launched around 2012 that raised funds for production, with additional test footage released in 2020 featuring dubbed sequences in Spanish to showcase visual style. As of September 2025, composer reported ongoing progress on music and elements, including recording sessions with musicians like trumpeter Brian Swartz, though no release date has been confirmed despite intermittent updates from emphasizing its status as a personal "bucket list" project. In 2010, the film inspired a live stage musical adaptation titled Forbidden Zone: Live in the 6th Dimension, produced by the Sacred Fools Theater Company in with Elfman's endorsement. The production retained the original's absurdist musical elements, scored by , and featured a "freefall celebration of weirdness" through adapted scenes emphasizing the basement portal to the Sixth Dimension and characters like King Fausto and Queen Doris. Performances continued into 2012, receiving reviews for faithfully capturing the film's chaotic, vaudeville-inspired tone while incorporating live theatrical effects to enhance the interdimensional fantasy. No further theatrical revivals or additional media extensions, such as novels or video games, have materialized.

References

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