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1960 American comedy horror picture directed past Roger Corman

The Little Shop of Horrors
LittleShop.jpg

Theatrical release poster
Directed past Roger Corman
Screenplay by Charles B. Griffith
Produced by Roger Corman
Starring
  • Jonathan Haze
  • Jackie Joseph
  • Mel Welles
Narrated by Wally Campo
Cinematography
  • Archie R. Dalzell
  • Vilis Lapenieks
Edited by Marshall Neilan Jr.
Music by
  • Fred Katz
  • Uncredited:
  • Ronald Stein

Production
companies

The Filmgroup
Santa Clara Productions[1]

Distributed past The Filmgroup
American International Pictures

Release appointment
  • September 14, 1960 (1960-09-fourteen)

Running time

 72 minutes[two]
Land U.s.
Language English
Budget $28,000–34,000[3] [four]
Box function 25,066 admissions (France)[5]

The Little Shop of Horrors is a 1960 American horror comedy film directed by Roger Corman. Written by Charles B. Griffith, the film is a farce about an inadequate florist'southward assistant who cultivates a found that feeds on human blood. The film'southward concept may have been inspired by "Green Thoughts", a 1932 story by John Collier virtually a human-eating plant.[6] Hollywood writer Dennis McDougal suggests that Griffith may take been influenced by Arthur C. Clarke's 1956 science fiction short story "The Reluctant Orchid"[seven] (which was in plough inspired past the 1905 H. 1000. Wells story "The Flowering of the Strange Orchid").

The flick stars Jonathan Brume, Jackie Joseph, Mel Welles, and Dick Miller, who had all worked for Corman on previous films. Produced under the championship The Passionate People Eater,[8] [ix] the moving picture employs an original style of humor, combining black one-act with farce[10] and incorporating Jewish humour and elements of spoof.[eleven] The Fiddling Store of Horrors was shot on a budget of $28,000 (virtually $240,000 in 2019),[12] with interiors being shot in two days utilizing sets that had been left standing from A Bucket of Blood.[13] [xiv] [fifteen] [sixteen]

The flick slowly gained a cult following through give-and-take of oral fissure when it was distributed as the B movie in a double feature with Mario Bava's Black Sunday [13] [17] and later on with Last Woman on Earth.[13] The film'due south popularity increased with local television broadcasts,[18] and the presence of a young Jack Nicholson, whose small function in the film has been prominently promoted on home video releases of the film.[19] The motion picture was the basis for an Off-Broadway musical, Little Shop of Horrors and was notably remade into a 1986 feature moving picture. The musical enjoyed a 2003 Broadway debut. All have attracted attending to the 1960 moving picture.

Plot [edit]

Seymour, Mushnick and Audrey look down upon a growing Audrey Jr.

Penny-pinching Gravis Mushnick owns a florist shop staffed past himself and two employees, the sweet Audrey Fulquard and the clumsy Seymour Krelborn. Located on skid row, the rundown store gets little business organisation. When Seymour fouls up a floral organisation for sadistic dentist Dr. Farb, Mushnick fires him; hoping to modify his mind, Seymour tells him well-nigh a special plant he has grown from seeds he got from a "Japanese gardener over on Central Avenue."[20] Seymour admits that he named the plant "Audrey Jr.", which delights the real Audrey.

Seymour fetches his sickly, odd-looking potted constitute, but Mushnick is unimpressed. When it is suggested that Audrey Jr.'southward uniqueness might attract people to see information technology, Mushnick gives Seymour one week to revive it. The usual kinds of plant food practise non nourish the plant, but when Seymour accidentally pricks his finger, he discovers that the institute craves blood. Fed on Seymour's claret, Audrey Jr. begins to abound and the shop's revenues increase when curious customers are lured in to see the plant. Mushnick tells Seymour to refer to him as "Dad" from then on, and calls Seymour his son in front of a customer.

The plant develops the ability to speak and demands that Seymour feed information technology. Now anemic, Seymour walks forth the railroad rail; when he carelessly throws a rock to vent his frustration, he inadvertently knocks out a drunken human being who falls on the track and is run over past a train. He tries to become rid of the body by throwing information technology away and burying it in a yard, but is nearly defenseless both times. Guilt-ridden just resourceful, Seymour decides to feed the mutilated trunk parts to Audrey Jr. Meanwhile, Mushnick returns to the shop to get some cash and secretly observes Seymour feeding the plant. Mushnick considers telling the police, just procrastinates when he sees the line of people waiting to spend money at his store the next solar day.

Seymour arrives the next morning suffering from a toothache; despite not going to the police, Mushnick yet confronts Seymour well-nigh Audrey Jr.'due south eating habits; while non explicitly revealing what he knows nigh the plant. Seymour grows increasingly distressed as he realizes that his boss is onto him. After finishing his rant, Mushnick sends Seymour to the dentist; presently after, Audrey runs upwards and declares that the shop needs many more flowers. When Seymour visits Dr. Farb, the doctor tries to go fifty-fifty for his ruined flowers and attempts to impale him. Seymour, defending himself, grabs a precipitous tool and stabs and kills Farb. Although horrified, Seymour feeds Farb's torso to Audrey Jr. The unexplained disappearances of the ii men attract the attention of Sergeant Joe Fink and his assistant Officer Frank Stoolie, who are have-offs of Dragnet characters Joe Friday and Frank Smith.[xv]

Audrey Jr. has grown several feet alpine and is budding, as is the human relationship between Seymour and Audrey. A representative of the Society of Silent Flower Observers of Southern California comes to the shop and announces that Seymour volition receive a trophy, and that she will render when the plant's buds open. While Seymour and Audrey go on a date, Mushnick stays at the store to see that Audrey Jr. harms no one else.

In the midst tending to his shop, Mushnick finds himself at the mercy of a robber who pretended to be a customer earlier that day and believes that the huge crowds he was among at the shop indicates the presence of a large amount of money. Mushnick tricks the deranged robber into thinking that the coin is where the constitute is, which crushes and eats him later Mushnick maneuvers him close enough to it. When Seymour is forced to damage his relationship with Audrey to keep her from discovering the institute's nature, he confronts the plant and asserts that he will no longer practice its bidding. The constitute then hypnotizes Seymour and commands him to bring it more nutrient. He wanders the night streets and (accidentally) knocks out a streetwalker, who he takes to feed Audrey Jr. Lacking clues nearly the mysterious disappearances of the two men, Fink and Stoolie attend a sunset celebration at the store during which Seymour is to be presented with the bays and Audrey Jr.'s buds are expected to open.

Every bit the attendees sentry, four buds open; inside each flower is the face of one of the constitute's victims. Fink and Stoolie realize that Seymour is the murderer; he flees from the shop with the officers in pursuit. He manages to lose them and make his way back to the at present-empty shop, where he blames Audrey Jr. for ruining his life, but the plant instead but asks to be fed. Seymour grabs a kitchen knife and climbs into Audrey Jr.'southward maw maxim, "I'll feed yous like yous've never been fed before!", apparently attempting to impale the plant. After that evening, information technology is discovered that Audrey Jr. has begun to wither and die. I final bud opens to reveal the face of Seymour. He pitifully moans, "I didn't mean information technology" and the flower droops.

Bandage [edit]

  • Jonathan Haze equally Seymour Krelboined[21]
  • Jackie Joseph equally Audrey Fulquard[22]
  • Mel Welles as Gravis Mushnick
  • Dick Miller as Burson Fouch
  • Myrtle Vail every bit Winifred Krelboined[23]
  • Sandra De Behave (as Tammy Windsor) as Shirley Plump[24]
  • Toby Michaels as Barbara Fridl[24]
  • Leola Wendorff as Mrs. Siddie Shiva
  • Lynn Storey as Mrs. Hortense Feuchtwanger[25]
  • Wally Campo every bit Sergeant Joe Fink / Narrator
  • Jack Warford as Officeholder Frank Stoolie
  • Meri Welles (as Merri Welles) equally Leonora Clyde
  • John Herman Shaner (every bit John Shaner) every bit Dr. Phoebus Farb
  • Jack Nicholson every bit Wilbur Force[26]
  • Dodie Drake equally Waitress
  • Charles B. Griffith (uncredited) as Voice of Audrey Jr./Screaming Patient/Kloy Haddock
  • Jack Griffith (uncredited) as Agony Lush[27]
  • Robert Coogan (uncredited) as Tramp

Development [edit]

The Little Shop of Horrors was adult when managing director Roger Corman was given temporary access to sets that had been left standing from his previous film, A Saucepan of Claret. Corman decided to use the sets in a motion picture made in the last 2 days before the sets were torn down.[8] [9] [xiii] [14] [xv]

Corman initially planned to develop a story involving a private investigator. In the story's initial version, the grapheme that eventually became Audrey would take been referred to as "Oriole Plove." Actress Nancy Kulp was a leading candidate for the part.[xiii] The characters that eventually became Seymour and Winifred Krelboined were named "Irish Eye" and "Iris Centre".[13] Actor Mel Welles was scheduled to play a character named "Draco Cardala," Jonathan Haze was scheduled to play "Archie Aroma," and Jack Nicholson would have played a grapheme named "Jocko".[13]

Charles B. Griffith wanted to write a horror-themed comedy motion picture. According to Mel Welles, Corman was non impressed by the box office performance of A Bucket of Blood, and had to be persuaded to direct another comedy.[9] Nonetheless, Corman later claimed he was interested considering of A Bucket of Blood and said the development procedure was similar to that of the earlier film, when he and Griffith were inspired by visiting diverse java houses:

We tried a similar approach for The Picayune Shop of Horrors, dropping in and out of various downtown dives. We concluded upwardly at a place where Emerge Kellerman (before she became a star) was working as a waitress, and every bit Chuck and I vied with each other, trying to top each other's sardonic or destructive ideas, appealing to Sally as a referee, she sat downwardly at the table with us, and the three of united states worked out the rest of the story together.[28]

The beginning screenplay Griffith wrote was Cardula, a Dracula-themed story involving a vampire music critic.[17] After Corman rejected the idea, Griffith says he wrote a screenplay titled Gluttony,[17] in which the protagonist was "a salad chef in a eating place who would current of air upwards cooking customers" and stuff similar that, you lot know? We couldn't do that though because of the lawmaking at the fourth dimension. So I said, "How about a human-eating plant?", and Roger said, "Okay." By that fourth dimension, we were both drunk."[10]

Jackie Joseph after recalled "at commencement they told me information technology was a detective movie; and then, while I was flight back [to make the movie], I think they wrote a whole new movie, more in the horror genre. I recollect over a weekend they rewrote information technology."[29]

The screenplay was written under the championship The Passionate People Eater.[viii] [nine] [13] Welles stated, "The reason that The Little Shop of Horrors worked is because it was a dearest project. It was our dear projection."[ix]

Product [edit]

The picture was partially cast with stock actors that Corman had used in previous films. Writer Charles B. Griffith portrays several minor roles. Griffith'south father appears every bit a dental patient, and his grandmother, Myrtle Vail, appears as Seymour's hypochondriac female parent.[8] [17] Dick Miller, who had starred as the protagonist of A Bucket of Blood was offered the role of Seymour, merely turned information technology downwardly, instead taking the smaller role of Burson Fouch.[ix] [13] Production at the Saucepan of Blood sets was compressed into three days of cast rehearsals, immediately followed past 2 days and one nighttime of primary photography.[30] [31]

It had been rumored that the film's shooting schedule was based on a bet that Corman could not complete a motion-picture show within that time. However, this claim has been denied by Mel Welles.[17] According to Joseph, Corman shot the film quickly in order to vanquish irresolute industry rules that would accept prevented producers from "buying out" an thespian's performance in perpetuity. On January one, 1960, new rules were to get into effect requiring producers to pay all actors residuals for all future releases of their work. This meant that Corman's B-flick business model would be permanently changed and he would not be able to produce low-budget movies in the same way. Earlier these rules went into effect, Corman decided to shoot one terminal film and scheduled it for the concluding week in December 1959.[32]

Interiors were shot with three cameras in wide, lingering principal shots in unmarried takes.[8] [13] Welles states that Corman "had two camera crews on the set—that's why the picture, from a cinematic standpoint, is really non very well done. The two photographic camera crews were pointed in opposite directions so that we got both angles, and and so other shots were 'picked up' to use in between, to make it flow. It was a pretty fixed prepare and it was done sort of like a sitcom is washed today, so it wasn't very difficult."[17]

At the fourth dimension of shooting, Jack Nicholson had appeared in ii films and worked with Roger Corman as the lead in The Weep Babe Killer. According to Nicholson, "I went in to the shoot knowing I had to exist very quirky because Roger originally hadn't wanted me. In other words, I couldn't play it straight. And so I just did a lot of weird shit that I thought would make information technology funny."[viii] According to Dick Miller, all of the dialogue between his character and Mel Welles was advertising-libbed.[17] During a scene in which writer Charles B. Griffith played a robber, Griffith remembers that "When [Welles] and I forgot my lines, I improvised a little, but then I was the writer. I was allowed to."[8] However, Welles states that "Absolutely none of information technology was advertising-libbed [...] every word in Little Shop was written by Chuck Griffith, and I did 90-eight pages of dialogue in two days."[17]

Co-ordinate to Nicholson, "nosotros never did shoot the end of the scene. This movie was pre-lit. You'd get in, plug in the lights, coil the photographic camera, and shoot. We did the have outside the part and went inside the office, plugged in, lit and rolled. Jonathan Brume was up on my chest pulling my teeth out. And in the have, he leaned back and hitting the rented dental machinery with the dorsum of his leg and information technology started to tip over. Roger didn't even call cut. He leapt onto the fix, grabbed the tilting motorcar, and said 'Next fix, that's a wrap.'"[8] Past 9 a.m. of the first day, Corman was informed by the production manager that he was behind schedule.[13]

Exteriors were afterwards directed by Griffith and Welles over two successive weekends, with $279 worth of rented equipment.[9] [xiii] Griffith and Welles paid a group of children five cents apiece to run out of a subway tunnel.[17] They were likewise able to persuade winos to appear every bit extras for ten cents apiece.[ix] [17] "The winos would get together, two or three of them, and buy pints of wine for themselves! We besides had a couple of the winos act as ramrods—sort of like product administration—and put them in charge of the other wino extras."[17] Griffith and Welles also persuaded a funeral home to donate a hearse and coffin—with a real corpse inside—for the film shoot.[17] Griffith and Welles were able to employ the nearby Southern Pacific Transportation Company m for an entire evening using 2 bottles of scotch equally persuasion.[9] The scene in which a character portrayed by Robert Coogan is run over by a train was accomplished by persuading the railroad coiffure to back the locomotive away from the role player. The shot was later printed in reverse.[ix] Griffith and Welles spent a full of $1,100 on 15 minutes' worth of exteriors.[ix] [17]

The movie's musical score, written past cellist Fred Katz, was originally written for A Saucepan of Blood. According to Marker Thomas McGee, author of Roger Corman: The Best of the Inexpensive Acts, each time Katz was called upon to write music for Corman, Katz sold the same score equally if it were new music.[33] The score was used in a total of seven films, including The Wasp Woman and Animate being from the Haunted Bounding main.[34] Katz explained that his music for the film was created by a music editor piecing together selections from other soundtracks that he had produced for Corman.[35]

Howard R. Cohen learned from Charles B. Griffith that when the film was being edited, "in that location was a point where two scenes would non cut together. It was just a visual jolt, and it didn't work. And they needed something to bridge that moment. They found in the editing room a dainty shot of the moon, and they cut it in, and it worked. Twenty years go by. I'm at the studio one solar day. Chuck comes running upwards to me, says, 'You've got to see this!' It was a magazine article—8 pages on the symbolism of the moon in Niggling Shop of Horrors."[9] According to Corman, the full upkeep for the production was $thirty,000.[16] Other sources estimate the budget to be between $22,000 and $100,000.[9] [xiii] [fifteen]

Release and reception [edit]

The film's trailer emphasized its comedic content

Release history [edit]

Corman had initial trouble finding distribution for the film, as some distributors, including American International Pictures (AIP), felt that the motion picture would exist interpreted as anti-Semitic, citing the characters of Gravis Mushnick and Siddie Shiva.[9] [13] [17] [36] Welles, who was Jewish, stated that he gave his character a Turkish Jewish emphasis and mannerisms, and that he saw the sense of humour of the flick every bit playful, and felt at that place was no intent to defame any ethnic group.[nine] The picture was finally released past its production visitor, The Filmgroup, nine months after it had been completed.[17]

The Little Shop of Horrors was screened out of competition at the 1960 Cannes Flick Festival.[8] [15] A twelvemonth after, AIP distributed the film as the B flick for their release of Mario Bava'south Black Sunday. Despite being barely mentioned in advertising (it was only occasionally referred to as an "Added Attraction" to Bava'south moving picture), Black Dominicus's disquisitional and commercial success resulted in positive discussion of mouth responses to The Piffling Shop of Horrors.[17] The picture show was re-released once again the following year in a double feature with Final Woman on Globe.[13]

Because Corman did not believe that The Picayune Shop of Horrors had much fiscal prospect later on its initial theatrical run, he did not bother to copyright it, resulting in the film entering the public domain.[13] [37] [38] Considering of this, the flick is widely available in copies of varying quality. The film was originally screened theatrically in the widescreen attribute ratio of 1.85:one, but has largely only been seen in open matte at an aspect ratio of one.33:i since its original theatrical release.[39]

Disquisitional and audience reception [edit]

The film's critical reception was largely favorable. On review assemblage website Rotten Tomatoes information technology has an blessing rating of 92% based on reviews from 12 critics.[forty] Variety wrote, "The acting is pleasantly preposterous. [...] Horticulturalists and vegetarians will love it."[41]

Jack Nicholson, recounting the reaction to a screening of the picture, states that the audience "laughed so hard I could barely hear the dialogue. I didn't quite register it right. It was as if I had forgotten information technology was a comedy since the shoot. I got all embarrassed because I'd never actually had such a positive response earlier."[8]

Legacy [edit]

The film'southward popularity slowly grew with local television broadcasts throughout the 1960s and 1970s.[18] Interest in the film was rekindled when a phase musical called Little Store of Horrors was produced in 1982.[9] It was based on the original moving picture and was itself adapted to cinema as Petty Shop of Horrors in 1986, and with another characteristic film remake appear in 2020.[42] A short-lived animated television series, Little Store, inspired by the musical motion picture, premiered in 1991.[43] Information technology ran for one flavour on Play a joke on Kids in 1991. Seymour and Audrey were depicted as thirteen-year-olds, and the plant, "Junior", was a rapping cannibal prehistoric animate being that sprouted from a fossilized seed. Each episode featured a few stylish music video sequences; Corman served every bit a artistic consultant on the testify.[44]

The picture was colorized twice, the first time existence in 1987.[45] This version was poorly received. The moving-picture show was colorized once more by Legend Films, who released its colorized version likewise as a restored black-and-white version of the film on DVD in 2006.[46] [47] Legend Films' colorized version was well received,[48] [49] and was also given a theatrical premiere at the Coney Island Museum on May 27, 2006.[l] The DVD included an audio commentary track by comedian Michael J. Nelson of Mystery Science Theater 3000 fame.[19] [48] A DivX file of Fable's colorized version with the commentary embedded is also available as part of Nelson'south RiffTrax On Demand service.[51] On January 28, 2009, a newly recorded commentary by Nelson, Kevin Murphy and Neb Corbett was released past RiffTrax in MP3 and DivX formats.[52] Legend's colorized version is also bachelor from Amazon Video on Demand, without Nelson's commentary.[53]

In November 2006, the film was issued past Buena Vista Home Entertainment in a double characteristic with The Cry Baby Killer (billed equally a Jack Nicholson double feature) equally role of the Roger Corman Classics series. Even so, the DVD independent only the 1987 colorized version of The Trivial Shop of Horrors, and non the original blackness-and-white version.[54]

It was announced on April fifteen, 2009, that Declan O'Brien would helm a studio remake of the film.[55] "It won't be a musical" he told Bloody Disgusting in reference to the Frank Oz film from 1986. "I don't desire to reveal besides much, just it's me. Information technology'll be nighttime."[56] When speaking with Stupor 'Till You lot Drib, he revealed "I have a take on it you're non going to look. I'm taking information technology in a different direction, allow's put information technology that way."[57] Even so, this version of the remake seems to accept been shelved.

On December 7, 2016, Deadline reported that Greg Berlanti is set to directly a revamped film of the musical adaptation with Matthew Robinson writing the script.[58]

In April 2017, a modern-day trading card fix was released by Attic Card Company. The set includes autograph cards by both Jonathan Haze and Jackie Joseph.[59]

In other media [edit]

Roger Corman's short-lived banner Roger Corman's Cosmic Comics released a three-result comic book accommodation of the film in 1995, written past J. R. Williams with fine art by Cistron Fama and Dean Rohrer.

See besides [edit]

  • List of American films of 1960

References [edit]

  1. ^ "Catalog - The Trivial Shop of Horrors". American Picture show Plant. Archived from the original on March 13, 2018. Retrieved March 13, 2018.
  2. ^ "The Little Shop of Horrors (A)". British Lath of Film Classification. March 1, 1973. Archived from the original on October v, 2016. Retrieved October iv, 2016.
  3. ^ Fred Olen Ray, The New Poverty Row: Independent Filmmakers as Distributors, McFarland, 1991, p 28-29
  4. ^ Goldman, Charles (Fall 1971). "An interview with Roger Corman". Pic Comment. Vol. 7, no. 3. pp. 49–54. ProQuest 210229038.
  5. ^ Box office information for Roger Corman films in French republic Archived 2020-05-26 at the Wayback Car at Box Function Story
  6. ^ Fowler, Christopher. "Forgotten authors No. 34: John Collier" Archived 2012-eleven-09 at the Wayback Machine. The Independent, May 24, 2009. Retrieved November 15, 2010
  7. ^ McDougal, Dennis (2008). 5 Easy Decades: How Jack Nicholson Became the Biggest Pic Star in Mod Times . John Wiley & Sons. pp. 39. ISBN978-0-471-72246-5. Arthur C. Clarke.
  8. ^ a b c d eastward f g h i j Corman, Roger; Jerome, Jim (1998-08-22). How I Made a Hundred Movies in Hollywood and Never Lost a Dime . Da Capo Press. pp. 61–62, 67–70. ISBN0-306-80874-9.
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  11. ^ Weaver, James B.; Tamborini, Ronald C., eds. (1996). Horror Films: Current Inquiry on Audience Preferences and Reactions. Lawrence Erlbaum Associates. p. 59.
  12. ^ "Archived copy". Archived from the original on 2019-07-09. Retrieved 2019-07-09 . {{cite spider web}}: CS1 maint: archived copy as title (link)
  13. ^ a b c d e f one thousand h i j k fifty g n o p Ray, Fred Olen (1991). The New Poverty Row: Independent Filmmakers As Distributors. McFarland & Visitor. pp. 28–30. ISBN0-89950-628-three.
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  21. ^ Griffith, Charles B. (1959). The Passionate People Eater (aka The Picayune Shop of Horrors) Screenplay. p. 4. SEYMOUR KRELBOINED, a scrawny runt, with a nose like a door-stopper and the gait of an ostrich, enters from the back.
  22. ^ Griffith, Charles B. (1959). The Passionate People Eater (aka The Little Shop of Horrors) Screenplay. p. 1. Inside the window, watering a few sad arrangements, is AUDREY FULQUARD, a cheerfully pleasant girl. This little corner of Sideslip Row is all she knows, but she dreams of running off somewhere nice someday. Similar Riverside.
  23. ^ Griffith, Charles B. (1959). The Passionate People Eater (aka The Footling Shop of Horrors) Screenplay. p. eleven. In the center of the room sits WINIFRED KRELBOINED, Seymour's female parent, sitting on her fe throne of a hospital bed.
  24. ^ a b Griffith, Charles B. (1959). The Passionate People Eater (aka The Picayune Shop of Horrors) Screenplay. p. 21. The door bursts open, and ii teenage girls, SHIRLEY PLUMP and BARBARA FRIDL, burst in, all a-giggle.
  25. ^ Griffith, Charles B. (1959). The Passionate People Eater (aka The Little Shop of Horrors) Screenplay. p. 66. Where they find MRS. HORTENSE FEUCHTWANGER standing in the eye of the room, raising her lorgnette.
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  27. ^ Griffith, Charles B. (1959). The Passionate People Eater (aka The Little Shop of Horrors) Screenplay. p. iii. A dentist'southward torture chamber. The patient, Agony LUSH, is completely schnockered, oblivious to all the contraptions and tubes hanging out his damn rima oris.
  28. ^ Roger Corman, "Wild Imagination: Charles B. Griffith 1930-2007", LA Weekly 17 Oct 2007 Archived 2014-04-21 at the Wayback Machine accessed 20 April 2014
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  35. ^ Larson, R. D., A talk with Fred Katz by Randall D. Larson Archived 2021-04-25 at the Wayback Machine, Originally published in CinemaScore #11/12, 1983
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  39. ^ Dante, Joe. Notes from Joe: Aspect Ratios in THE Piffling Shop OF HORROR Archived 2012-x-18 at the Wayback Motorcar. Trailers From Hell. 2011.
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External links [edit]

  • The Little Store of Horrors at IMDb
  • The Fiddling Shop of Horrors is bachelor for costless download at the Internet Archive
  • "The Petty Shop of Horrors, Official Trailer" on YouTube

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Source: https://en.wikipedia.org/wiki/The_Little_Shop_of_Horrors

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