I JUST realized why Seymour says "Do I know you?" to Bernstein at the beginning of The Meek Shall Inherit in Little Shop of Horrors. Because of And You Were There, Seymour HAS met him before-when he played the first customer, and the dentist. —Tropers/OOZE
In another version of the script called for Bernstein to be played by the same actor as Orin, which adds a whole other layer of brilliance. All of the people who give Seymour contracts are played by the same man who plays Orin Scrivello D.D.S.
This could also be viewed as a metaphor. At this point of the story, Seymour feels so guilty about feeding Orin and Mushnik to the plant that he starts seeing Orin's face on other people.
It hit me in Advanced English (while reading Jane Eyre, of all things) that Little Shop has many of the elements of a Greek tragedy (albeit, a very funny one). While it is certainly modern in much of its set-up, much of it seems to root in tragedy: The Doo-wop girls are a Greek chorus. The reversal (peripiteia) comes after he kills Mushnik. Anagnorisis (moment of recognition) comes when Seymour realizes Audrey II had planned this from the start. Pathos (scene of suffering) is when Audrey is killed by Audrey II. And Seymour fits the bill for a tragic hero: "a great man who is neither a paragon of virtue and justice nor undergoes the change to misfortune through any real badness or wickedness but because of some mistake (flaw)."
It's not a secret that Little Shop is played as Greek Tragedy. Look at the murders by Seymour: enemy, father, love, himself, in that order.
It's also a variation of the Faust legend, of a man who makes a deal with a shady and malevolent character and loses everything in the end.
I recently realized that Seymour's flaw is being utterly and completely passive. He knows Mushnik doesn't really care about him, but ends up consenting to be adopted anyway, and then the plant talks him into committing murder—twice. Seymour doesn't even have the guts to kill Orin himself, even though he walks in fully intending to do so: he sits down all ready to go through a hellish session of dental work with no gas and a rusty drill rather than complete his mission, simply because Orin said so. Then he's relieved when he has the chance to kill Orin by refusing to help him instead of actively murdering him ("I can off the guy by sitting in the chair"). It all comes to a head in "The Meek Shall Inherit", when Seymour miserably signs every contract handed to him, knowing full well he'll have to kill more people to keep the plant fed. Why is this brilliant? The chorus to "The Meek Shall Inherit" (sung by the Doo Wop Girls, who, of course, are the Greek Chorus and have inside knowledge of the plot):
They say the meek gonna get it
And you're a meek little guy
You know the meek are gonna get what's coming to 'em by and by!
They never mention what is coming to the meek (or whether it's good), and if you look at it another way, they're implying that Seymour is getting his just desserts for letting everyone walk all over him. (Additionally, the song's title is a fragment of the quote "The meek shall inherit the earth", and although Audrey II promises Seymour everything, the play ends with the plant inheriting the earth—literally.)
There's a possible running parallel between Audrey and Seymour in that they allow themselves to be abused and dominated by Orin and Audrey II, respectively. While Audrey is unhealthy because Orin beats her, Seymour is cutting himself and losing blood to keep the plant fed. In one scene ("Ya Never Know"), Seymour walks around holding the plant; the actor who plays Seymour here wears a jacket with a fake hand so that he can stick his real hand up through the pot and operate the plant's stem. This renders him unable to use one of his arms. Two seconds later, Audrey shows up, and she's late because Orin was beating up on her again. Her arm is in a cast.
Orin's an abusive sadist, Mushnik is a greedy, selfish dick, and Seymour is a passive-aggressive turd: they all end up dead by the end, but Audrey is the only one who did absolutely nothing to harm anyone, and right up until her death wanted only what was best for the one she loved. Then we have "Don't Feed The Plants", which tells us right up front that the Earth can stop the invasion... if the jerks of the world would just stop fucking it up for everyone else. And if you go by the main story? The assholes outnumber the good folks three to one. We are doomed.
Why Audrey dies even though Seymour got her out of the plant in the original ending. If you look closely her dress is ripped and covered in blood stains. In the theatrical ending there was no bloodstains shown. It was established in the movie earlier that it feeds on fresh blood to survive. So in the original ending, Audrey II sucked out all her blood until she died of blood loss.
You really can't get out of Skid Row. "Skid Row" is a song about the futility of the working poor: no matter how much you work, the cost of day to day living means you'll never have enough to actually get ahead and keeping yourself afloat is misery in and of itself because all you can do is live an endless cycle of breaking your back for a pittance while the people you work for draw on your labor to give themselves luxury. And then Seymour comes along, and shows us that even the most successful person ever to come out of that neighborhood ends up literally consumed by his work.
Why is Audrey's death the final stroke for Seymour? It's not just because she's dead and thus can't bring himself to continue living out of grief: it's because when all is said and done, he willingly gives her to the plant. He saved her from it, just to feed her to it anyway. Even when he finally puts his foot down and tells Audrey II it must be stopped, he still refers to Audrey as "the only thing" he ever loved. When it comes right down to it, Seymour is just as selfish a monster as everyone else, he's just too meek to act on it until he has a way to skirt all the consequences; right up until he watches Audrey disappear into the plant and finally realizes what a monster he is, all he's doing is disposing of another body, and making another Lovecraftian sacrifice to Audrey II.
Supporting the theory he's just as selfish as the antagonists is his first wish during Feed Me (Git It). It's not for Audrey's love but a desire to be seen as a hot shot just like Orin ("Gee, I would like a Harley machine / fooling around like I was James Dean / making all of the guys on the corner turn green"). The only time Audrey is mentioned is when Twoey brings her up ("Come on, kid, what will it be? Money? Girls? One particular girl? How about that Audrey?"). This adds a new layer to why Seymour is interested in Audrey in the first place. He doesn't love her for her personality but because Orin (everything he wants to be) has her.
Actually, it's heavily implied that it's the other way round: he wants to be like Orin because Orin's the one that has her. In the show, he approaches Audrey at the start of Act II wearing Orin's jacket and asks if she likes it. When she has a negative reaction to it, he instantly takes the jacket off and even says that he'll burn it. There's no doubt that Seymour is just as selfish as everyone else in the story — Audrey II would never have been able to prey on him for that long if he wasn't. And then there's the fact that Audrey II keeps on the hook with the promise of purely material things.
Seymour is the only person Audrey II is able to eat by itself. Why? Because it ate Audrey, and we've seen from the very beginning that it grows instantly after consuming enough blood. Seymour sealed his fate (and the world's) as soon as he fed her to it; Mushnik was gone and he had plenty of money to get out of town with. If he hadn't given her to the plant, locked up the flower shop, and quietly left without telling anyone, he might have saved the world... but she told him that's what she wanted, and like always, Seymour obeyed without question and paid the price.
The three different versions of the story (the original 1960 film, the play version, and the test-audience-approved film version) all have different endings... but, at the same time, each ending fits the different spin that version puts on the core story:
The 1960 film version, where Seymour foolishly climbs into Audrey II's mouth and is eaten, with the plant being destroyed after its true nature is discovered, makes sense because, in this version of the story, the fact of the matter is that Seymour is a bumbling idiot. He lucked into creating Audrey II, and was then swept along by it because he's a moron — moreover, because he's such a moron, he never thinks to exploit Audrey II by selling cut-offs, so it's a much more vulnerable monster.
The play version, where Audrey II eats Seymour after gaining sufficient strength and goes on to devour the world with its spawn, makes sense because in this version, not only is Audrey II an alien predator, but Seymour is actively conspiring with it for profit; it's a case of Karmic Death as a result of making a Deal with the Devil.
The film exclusive ending, where Seymour and Audrey manage to kill Audrey II, makes sense because Seymour is a lot less of a willing conspirator in this version and so it lacks the karmic element to see Seymour eaten by Audrey II.
However, it's not the real ending of the film to begin with. The film was supposed to be faithful to the play. It's a Focus Group Ending.
Actually, it's likely that focus groups chose the final version specifically because of the rewrites that made Mushnik less sympathetic (having him try to bribe Seymour and thus making his death karmic instead of a result of Seymour's greed), as well as other changes which made Seymour seem more sympathetic and less complicit in Audrey II's scheme. The test audiences probably would have been better with the original ending if the other changes hadn't already been made to Seymour's character, and only rejected it because Seymour's death came across as tragic rather than karmic. The original writer's point still stands.
In the film, look closely when Audrey II sings "When he's gone, the world will be yours!" during Suppertime. He's looking at himself in the mirror. He isn't talking to Seymour at all, he's talking to himself, and the "he" is Seymour!
During the stage show's version of "Feed Me (Git It)", there is a clever use of foreshadowing based around the term "Git It". When Audrey II sings it, he's using the term in the positive sense (aka, you'll get what you want) but when Ronette, Crystal and Chiffon sing it, it's negative (aka, you're going to get what's coming to you).
What is the significance of Seymour naming the plant after the woman he's secretly in love with? He behaves the way he does because (he justifies) of the chance Audrey would love him if he did, only to focus more on the plant until it destroys them? What else does this echo? That's right, the legend of Faust, made famous by Goethe and Marlowe.
In the musical film during the scene where Seymour is at the radio station, Audrey II tries to bite a woman's butt. Many viewers seem to have written that off as Audrey II just being a pervert... but I disagree. Sure, this isn't the most serious movie, but it doesn't make sense for Audrey II to suddenly be interested in a human woman sexually. But what do we know DOES interest Audrey II? Blood. Maybe that woman was having a visit from Aunt Flo.
In the film's opening number, the Greek Chorus stop inside the shop beside Mushnik and sing the lyrics "Best believe it, somethin's come to get ya" toward him. Later on, Mushnik is eaten by the plant who has come from outer space.
Likely unintentional, but in Finale Ultimo, Crystal, Ronette, and Chiffon tell the audience that similar events to the ones just witnessed have began to occur all across the nation. Little Shop is a popular musical, and theaters and high schools everywhere often do productions of it, each with their own cast of actors and their own personal twist on the play, while still staying true to the story. Crystal, Ronette, and Chiffon were right.
At the end of the film adaptation, a new Audrey II plant is growing and smiling in Seymour and Audrey's yard. In addition to the obvious that Seymour and Audrey's life together will be threatened once more, what if more of them appeared?
You also have to ask how it got there. Are the aliens capable of planting as many Audrey I Is as they want, anywhere? In the play, it's only North America that's destroyed, but if you run with the implications the movie is easily worse.
Audrey took a Sominex before going back to the shop and being eaten by the plant. After Seymour rescues her, she asks to be fed to the plant and dies in his arms. What if that was just the sleeping pill taking effect? She wasn't really dead until Audrey II ate her!
Not to mention, that seems like the intent! Suppertime (Reprise) is alternatively called Sominex, but it only gets a passing mention in the song itself. What if that's why?
There is nothing left of Audrey when Seymour gets swallowed, even though she'd only been devoured a few minutes before, and it swallowed her in one gulp (or just let whatever digestive system it has dissolve her all at once). But with Seymour? Audrey II takes lingering pleasure in cramming Seymour into its gullet, and chews. Because Seymour is the first meal Audrey II is able to eat fully under its own power.
I never really appreciated the themes of Little Shop until after watching it a few times. The entire story is basically a cautionary tale about the cyclic nature of corruption, abuse, and bullying: the truly powerful gain power by exploiting the needs of the weak and maintain that power by depriving others of gaining power of their own: The wealthy employ the poor, but won't pay them a living wage that would allow them to move up economically. Orrin gives dental care to his patients, but only for the sake of hurting them (and since he's a medical professional and a bully, no one argues with him; he has plenty of clients); he fills Audrey's need for a relationship, but he abuses her and forces her to live in fear of his wrath. Audrey II plies Seymour with a future he could never have on his own, but only to get him to bring it blood. It's interesting in that Audrey is the only character who, when it first appears, has absolutely no direct power of its own. Once it gains power over Seymour, it uses him to make itself strong enough to eat right through him and move on to bigger game. Even Mushnik, a poor Skid Row resident himself, adopts Seymour and gives him the family he always wanted, but only in order to tie himself to Seymour's success. The powerful supply the weak with what they need, but force those same people to bear the costs while the powerful grow more powerful by keeping the fruits of that labor for themselves. It's a cute, funny, fun movie, but it's also very apt.
In the original ending, Audrey II's are devouring humanity in droves and clearly enjoying it immensely, blowing up factories by blowing into their smokestacks and devouring train cars by letting them run into their open mouths. That's not the fridge horror. The fridge horror is realizing that they have no concept of moderation. They're going to devour the entire human race, and once that happens, they're going to launch their spores into space. At the end of the movie, Audrey II has nine buds growing out of itself. God only knows how many other planets were completely stripped of their dominant species before Audrey II landed on Earth.
A bit of Fridge Horror completely unrelated to Audrey II: there's the sound of drilling and screaming coming from the operating room, and then the girl with the ridiculous headgear staggers out. Braces don't normally require drilling. So what did Scrivello do to her, exactly?
If you paid attention, you'd know that she had her jaw removed and put back. The drilling was putting the bolts in the device.
Orin's mother most likely encouraged her son to pursue dentistry so he wouldn't become a serial killer.
I could never put my finger on exactly why Seymour seemed so much more sympathetic in the 80's film that people would think he deserved a happy ending, since his actions are the same even with some of the subplots removed, but then I realized: his lack of direct involvement isn't set up as passivity, it's set up as karmic retribution for his victims. When he says "it's not what you did to me, it's what you did to her," while standing over Orin and pointedly not gleefully thinking to himself that he can kill him without doing anything, and when he doesn't stop Mushnik from getting too close to the plant while being blackmailed into giving up his fortune instead of telling him the money is in the plant, the implication is that he isn't killing them through inaction, he just isn't saving them from the consequences of their own actions. Of course, Rick Moranis's performance doesn't hurt, but the way morality tends to work (in films, anyway), the little guy who lets the big guys fall hard is usually the unambiguous hero, especially when he has a scene where he saves his damsel in distress and she deserves a good ending even more than he ever could.
In the end, we see the plants taking over the world, and the chorus warns us "don't feed the plants," saying that people all over the country were taken in by their plants' promises. Except- what could the new plants promise their owners? Audrey II was able to promise Seymour fame and fortune because he had a one-of-a-kind plant that people all over would pay to see. However, the new plants can't make that promise if everyone in the country had one. So why would all these other people be willing to kill other humans just to have yet another giant plant?
Because the point isn't in the fact that it's giant plant. Audrey II is a type of flytrap, and somehow has a way of rendering itself extremely attractive to humans, appropriate in that it's a metaphor for temptation. Consider that thousands of people are buying these things, but in the climax, there's really only a handful of them destroying New York (not that there needs to be very many). Each of the Audrey II's needs to find someone who not only will figure out that they need blood to grow before it dies of starvation as a sapling, but be willing to kill to feed it once it becomes able to talk and make Faustian promises. What that means is you have a fad plant that only very particular sorts of jerks are going to be able to grow to the amazing heights, and so anyone who's able to do it, is probably going to at least have something of an increased social status among other Audrey II growers.
They don't even have to be jerks. Picture an extremely lonely person buying a fancy new plant to brighten their apartment. To this person's delight, the plant is visibly responsive to their voice! They start talking to it, really bonding with the plant. Then it starts wilting, and the lonely person will go the extra mile to save their precious plant. Once the plant gains the ability to speak and to reach out and touch them, they feel even closer to it. It tells them it loves them. Before long the human is willing to do anything in order to help their friend.
The new ending for the movie musical introduces a plot hole. In the original, each feeding makes Audrey II more powerful: drinking Seymour's blood gives it the power to talk, and to eat solid food; eating Orin makes him big enough to eat someone whole; eating Mr. Mushnik gives him the strength to catch a person without Seymour's help; and, lastly, eating Audrey lets him turn into a wall-smashing badass capable of the level of destruction seen in "Mean Green Mother from Outer Space." Without Audrey's death, it is unclear how Audrey II became so powerful, and why he didn't demonstrate this strength when Seymour was prying him open and literally taking food out of his mouth.
It's not actually that weird, since without Audrey's death, Audrey II isn't powerful enough to do anything but manipulate small or lightweight objects like the phone, the gun, and Seymour's pants. It starts rattling the building because its roots have grown into the floor and it's uprooting itself as it aims to break free, but Seymour is able to kill it at that point because it's not as powerful as it would have been, if it had eaten Audrey: it wasn't strong enough to pull him out of the rubble and eat him.
In this troper's interpretation, the reason is that in the original ending, you hear a nasty *CRUNCH* sound as the shot switches to Seymour, and in the alternate ending, the sound is changed to something less harmful like Audrey II trapping Audrey on its mouth. Both aftermaths are similar, you have Audrey with bite-marks all over her body and she faints. The big difference in the alternate ending is that Audrey II didn't manage to eat Audrey, but consumed enough blood to grow and attack Seymour, thus making it vulnerable to be destroyed. Also, in the alternate ending, they removed the shots Seymour fired at Audrey II, so it can be assumed that's what they were intending to imply when they remade the ending. As for why doesn't Audrey II stop Seymour from saving Audrey, it can fall under For the Evulz territory.
Considering it's the loudest Audrey II laughs, it's a case of "Too late, sucker! I win!"
There's also the part where that scene is functionally the same in either ending. Audrey II thinks the same thing either way: Audrey is as good as dead and Seymour is going to feed her corpse to it, because the other option is leaving it on the street to rot. In the happy ending, he's just wrong. And why not? It's never had to deal with an injured human before, it has no idea what kind of injury a person could survive.
The reveal that there is an Audrey II bud living in Seymour and Audrey's garden in the Focus Group Ending is hardly a cause for concern, despite the implications: they know from experience not to listen to anything it will say, and it's too small and weak to stop them from destroying it.
Goes right back to Fridge Horror when you realize, if there's one bud, there could be more.