Repo! A Genetic Opera (Jon’s Take)
It’s true. It’s all true. Everything you’ve heard about Repo! A Genetic Opera is true. No, not what the narrow minded critics have been saying, in fact they are quite uninformed about what they think they saw. I’m actually talking about the completely original, unique, bizarre vision director Darren Lynn Bousman and co-writers Terrance Zdunich and Darren Smith have brought us.
It’s so hard to describe Repo! and I think that’s where many critics have given up on it and had made them think it’s a complete mess. Actually, it might be mute to describe it because whatever I think it is, it will be something reminiscent of something else for someone else. That’s the diving line right there. Repo! is so crazy, beautiful, and unique that many will be confused by what they see. Its okay, even its creators don’t mind if you don’t vibe with it, but it’s off-putting to see so many critics ripping on it for the silliest of reasons.
First of all, it is an opera. The typical musical, let’s say Rocky Horror Picture Show because that is what Repo! is constantly referred to as, features a few songs here and there to break up the dialogue. We’re used to that. In fact, musicals have been on a high as of late, but Repo! isn’t that, it’s practically 99% song over dialogue. The songs are magnificent. Featuring more songs than any six musicals put together, Repo! showcases some of the fun and musical ingenuity that will stick with the people that enjoy it. That’s another thing; I don’t think many mainstream critics dig the rock opera aspects. Most songs blur genres together, like “Chase the Morning” which features Sarah Brightman’s incredible voice against some dark Euro-pop hooks and industrial, NIN-influenced beats.
The songs compliment each character perfectly. “Seventeen” is a punk styled song that has Shilo (Alexa Vega) releasing some angst against her dad. I’ve read where someone stated that this song is too much like an Avril Lavigne song and it was off-putting and unneeded. Huh? Shilo is young and brash. The song perfectly tells us her conflict and in a way that is her. She wouldn’t sing a ballad, not in the Repo! universe. Pretty much all of the songs are like this. In “Mark It Up” Bill Moseley sings annoyingly because his character is an asshole and doesn’t care. It’s perfect. Same with “Zydrate Anatomy“, perhaps the hit song from the soundtrack, features Grave Robber (Terrance Zdunich) in a cool, Marilyn Manson-inspired song that covers the backdrop to themes in the Repo! world. It’ll get stuck in your head for days.
With a collision of different musical styles, Bousman edits some scenes almost like a music video. I think in this film’s case, it works perfectly. The songs present themselves to be filmed in that manner and sometimes it adds much to the setting or character. With such an emphasis on songs, surprisingly the film is a visual wonder to look at. Each scene has so much going on; whether it is a DJing grandma, neon lighting, or infomercials playing on hovering TVs, Repo! is like if Blade Runner was directed by Trent Reznor. Adding to it all, is this visual playbill, most operas have a playbill ready for you, Repo! one ups that old time machismo, by having these comic book-like panels. These are used to tell a back story of a character, much like the playbill does, so one can enjoy the visuals and the music.
I really hope you’re either confused or interested in what I’ve been detailing, because even with all of that, the casting is the cherry on top of it all. Many of Bousman’s choices might seem like stunt casting but only until you see the film does it all fell natural. Anthony Head is the best of the bunch as he has the most duality in his character of Nathan Wallace/Repo Man to work with. He’s constantly shifting from loving father to raging monster, even in song, but it’s never campy or over-acted. His long work with Joss Whedon comes in handy here, I believe. Bill Moseley is a delight too, a raunchy, vulgar man, a prefect role for him to ham it up. Hell, I’ll say it-even Paris Hilton is good here playing Amber Sweet a surgery-addicted druggie, you’ll forget all of the tabloid stuff. But the surprise to me is Alexa Vega. I was blown away by her strength and vulnerability in the role of Shilo, but her singing is really impressive. Her duet with Anthony Head in “I Didn’t Know I Loved You So Much” is mature and rocking at the same time.
I know this review has been long-winded, but Repo! A Genetic Opera deserves it. The only negative I can say is that I wanted a little more of Blind Mag and maybe a little more with this character or that character, and then I thought, if I’m saying that, then I was so engrossed in the film, the characters and the music, the Bousman and company did their job. Now getting back to these critics that absolutely hate this, well, of course they do! They don’t get the film’s gothic but futuristic world. They don’t get the industrial, metal, opera songs. They don’t get anything because this film isn’t made for them. It’s made for me, the theatre kids, the art students, the Goths, or any other subculture you belong to. I have a strong feeling that this will be a main stay on the midnight screening circuit and I expect a few critical re-evaluations in the near future too.
Rating: 
