Written by: Brian Costello
Rating: 10 out of 10
Think for a moment about the term “soundtrack.” Usually soundtracks bring to mind a collection of songs that are presented in a given film and sold to the public for marketing purposes. Now, the question becomes, how many soundtracks released in the past 30 years have contained songs that actually have anything to do with the films they represent? More specifically, how many horror film soundtracks have been released in which the material has any meaningful connection to the film? The answer: not many. Sure, some soundtracks actually have songs written specifically for the film, but in most cases, record labels compile songs from their artists or the current hottest artists at the time that have nothing to do with the actual film itself and throw them on a disc in an attempt to cash in on a film’s success. This has especially been the case for soundtracks of horror films. When we think of music in horror films, we don’t think of songs performed by Joe Schmoe artist, we think of musical themes and motifs. However, this particular soundtrack is not one of these generic ones.
Enter Repo! The Genetic Opera, a film in which the music is not only related to the film, but is the actual film itself. The main word in this title is “Opera” because that’s what it is, an opera. A rock opera to be exact. The entire film is done in song to move the story along and provide plot points and character. Before reviewing the actual music, the film’s information must be provided, since the music is based upon the film’s information. The film stars Alexa Vega (the Spy Kids films), Anthony Stewart Head (TV’s “Buffy the Vampire Slayer”), world renowned opera singer Sarah Brightman, Paris Hilton (yes, Paris Hilton), Skinny Puppy’s Ogre, co-composer and co-creator Terrance Zdunich, Bill Mosley (House of 1000 Corpses, The Devil’s Rejects), and Paul Sorvino (Goodfellas) and is directed by Saw II, III, and IV handler Darren Lynn Bousman.
The best way to describe this film is Rock Horror Picture Show meets Blade Runner meets Sin City meets Sweeney Todd meets the Saw movies (obviously) with a little bit of Rent thrown in. The film, based upon the independent opera of the same name, takes place in the year 2056 when murder has been legalized, and industrialization has sent the world into turmoil. As a result, many people suffer from organ failures. Therefore, organ transplant has become the top economic demand. However, much like today’s society, not everyone can afford such surgery. Thus, a biotech company, GENCO, has agreed to perform these transplants for free and to be paid later. However, if those people cannot pay their debts, GENCO sends out their legal assassin called the Repo Man to repossess those same organs. At the center of the story is a girl named Shilo (Vega) who suffers from a rare blood diseases that prevents her from going outside contracted from her mother, who died during child birth. Thus she is confined to her room by her over-protective doctor/father Nathan (Head), who lives a secret night life as GENCO’s Repo Man. He works for GENCO’s CEO and Founder Rotti Largo (Sorvino), who is dying and must decide who will take over the company. The people fighting for the position are his promiscuous daughter, Amber Sweet (Hilton), and his two psychotic sons, Luigi (Mosely), and Pavi (Ogre). Rotti plans to “go out with a bang” by putting on an opera presented by his company, starring his client and prized opera singer Blind Mag (Brightman), who also happens to be Shilo’s Godmother.
At this opera, Rotti plans on having the Repo Man repossess Mag’s eyes after her final, contractual performance. Shilo, learning this, must go out into the world she has been sheltered from to save her new friend before it’s too late. The film also contains the character of the GraveRobber (Zdunich), a drug dealer who serves as the film’s narrator-like character. The film is being marketed as “Not You Parent’s Opera,” which this is (if you haven’t figured that out by now). The music isn’t like most music one would find in musicals. Gone are the happy and cheerful numbers found in such shows as Hairspray and Mama Mia replaced by the more hard rock, in your face, emotionally driven pieces found more in Rent and Sweeney Todd. Though most of the music can be described as industrial rock, there are a few instances when that mold is broken when we get some Avril Lavigne inspired girl punk (“Infected,” “Seventeen”), cabaret (“Thankless Job”), a rock ballad (“I Didn’t Know I’d Love You So Much”), techno-inspired (“Things You See in A Graveyard,” “Chase the Morning”), Broadway (“Gold”), opera (surprise) (“Chromaggia”), and some short musical pieces that help better make this an opera. The album gets things started with “At the Opera Tonight” which perfectly sets the musical mood and feel of the soundtrack/movie with vocals provided by all eight of the lead characters. Other standout pieces include “Mark It Up,” a comical duet between bickering brothers Moseley and Orge, “We Started This Opera S**t”, the most lively song on the album in which other co-creator and co-writer Darren Smith gets to show his musical abilities as well, the beautiful “I Didn’t Know I’d Love You So Much,” a final goodbye between father and daughter, and “Genetic Emancipation,” in which Vega shines the most. However, the song that standouts as the greatest in this 22 song album is Head’s “Legal Assassin.” The song serves as an exploration into the complications of his
character when he admits to be “living out a lie.” On one hand, he is a loving father, but on the other hand, he is a vicious killer. In speaking to his dead wife, he exclaims, “The nightmare that she should fear/Is the father you left alone.” Throughout the track, as Head goes through a Dr. Jekyll to Mr. Hyde transformation, the music does as well as it starts of as hardcore rock and
becomes intensely goth at the end. In fact, it’s Head who is the standout performer on this album. “Buffy” fans will remember Head displaying his vocal abilities on a few episodes, including the musical episode “Once More with Feeling.” Even though every performer on this album does an exceptional job (yes, that includes Ms. Hilton as well), it is Head that most people should pay attention to. Not only is the cast impressive, but show are the musicians providing the music which include Joan Jett, Richard Patrick (Filter), Stephen Perkins (Jane's Addiction), Clown (Slipknot), Ray Luzier (Army of Anyone), Brian Young (David Lee Roth's band), Sonny Moore (From First to Last), Richard Fortus (Guns & Roses), David J (Bauhaus/Love & Rockets),
Daniel Ash (Love & Rockets), Blasko (Ozzy Osbourne), Tommy Clefetus (Rob Zombie's band), Melora Creager (Rasputina), and Poe provding background vocals.
In the end, what makes Repo! The Genetic Opera stand out from most movie soundtracks is the simple fact that the soundtrack provides a unique experience. Because the entire film is in song, listening to the soundtrack is the same as non-visually watching the film. However, there are only 22 songs out of what is said to be 57 total on this disc, so the entire experience won’t be had
until the film is released on DVD in January. Also, the sequencing of the songs are not in the order they appear in the film, so there might be some moments when people get confused as to what is going on. And while one may argue that some cast members may not meet the levels held by Head, Brightman, and Vega, the rest of the cast certainly sounds better than Pierce Brosnan in Mama Mia. To conclude, Repo! The Genetic Opera is a true musical experience that even the non-rock-n-roll listener should try.
For more information about Repo, visit www.repo-opera.com
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