Greetings all and welcome to DEEP/DIVE: FilmBunker’s newest (and greatest) editorial series! Join us for a somewhat regular column, where we will skewer, dissect and gleefully over-analyse a wide selection of fine films without any real need for doing so, because ‘The Internet’. Said films may be approaching, or have surpassed, a particular retrospective milestone. They may have penetrated the cultural zeitgeist in a way that demands increased attention from neurotic and/or caffeine-riddled critics. Or they might just have, like, really dank memes. Whatever the reason, FilmBunker is ready to wade through a sea of hot takes and pop-up browser tabs in order to take the plunge.
South Park: Bigger, Longer & Uncut (1999)
Released: June 30 1999 (US)
Directed by: Trey Parker
Runtime: 81 minutes
On the face of it, it’s kind of awe-inspiring that a film like South Park: Bigger, Longer & Uncut still exists today in 2019, let alone when it entered theatres all the way back in 1999. As a young teen with very little parental oversight, the idea of sneaking into a theatre to watch an MA15+ rated film that, according to the Guinness World Records 2001, featured a total of 399 swear words—including 146 uses of the word “f***,” along with 199 offensive gestures and 221 acts of violence—was incredibly alluring. (Also, for all the stats nerds out there, with an 81-minute runtime, that’s almost five profane instances a minute, or roughly one every twelve seconds.)
As much as South Park the series had already penetrated the late ’90s cultural zeitgeist and the fallout of the Clinton administration in the U.S.A. and abroad, I don’t think people were truly prepared for how all-in Parker and Stone would go with Bigger, Longer & Uncut. Esteemed film critic Roger Ebert described the film as a “signpost for our troubled times,” reflecting on how the brazenness of the film’s satire coupled with gratuitous obscenity and profanity both offended and amazed him. Despite an initially luke-warm reception, response to the film overall was overwhelmingly positive, grossing over $83 million worldwide off a $21 million production budget. Until the release of Sausage Party in 2016, Bigger, Longer & Uncut was the highest-grossing R-rated (by U.S. classifications standards) animated film of all time.
However, what struck me about the film on my recent—and possibly one-hundredth re-watch (I still appear to know about 70% of the dialogue off by heart twenty years later; it’s a legitimate concern)—was just how brilliant the musical aspects of the film were and remain to be. While Bigger, Longer & Uncut certainly wasn’t the first film foray for South Park series collaborators Trey Parker and Matt Stone, it was the beginning of their musical-themed creative hot streak, with the release of the post-9/11 political satire, Team America (2004), and their multi-Tony and Grammy Award-winning Broadway sensation, The Book of Mormon (2011).
Rather than rehash the eccentricities of the film’s outrageous plot, or the smart, biting satire of American foreign policy, parental censorship and Disney corporatisation, I thought we’d instead take a closer look at Bigger, Longer & Uncut’s soundtrack and dissect the film’s musical DNA.
“Mountain Town”
As far as openers go, this one is great. Stan kicks us off with a sweet ditty focusing on the daily main street pursuits of his “quiet little redneck podunk white trash” mountain town. Joined by Kenny, Kyle, Cartman, Stan’s mother Sharon and Kyle’s mother and central film antagonist Sheila Broflovski, this particular number beautifully sets up subtle cues for major plot devices in the film: clips of Canadian comedians Terrance & Phillip, whose intradiegetic film Asses of Fire motivates the meta-film’s first arc; Kenny’s mother Carol’s warning about death and hellfire at the hands of Satan; Kyle’s visible weakness in the face of Sheila’s overbearing and controlling parenting; and the announcement of Saddam Hussein’s death from a pack of wild boars through a background TV anchor.
“Uncle F***a”
Now admittedly, if “Mountain Town” lulled unsuspecting viewers into a false sense of security with its warm and light-hearted tone, “Uncle F***a” blows that away from the very first line: “Shut your f***ing face, uncle f***a.” It’s likely that the people shown to be walking out of the theatre in disgust in film, directly paralleled reactions to the meta-film itself at around this point—and we’re only seven minutes in. The number itself is obscene to the n-th degree, with a cascade of hilarious insults and a bridge composed entirely of farts. What else did you expect really?
“Wendy’s Song (There’s the Girl That I Like)”
Viewers of the series itself will be familiar with Stan’s reaction to Wendy, and placed within the film context, this number sets up the eventual stomach expulsion for a more visceral reaction. Also, side note: Cartman’s brief aside about Terrance calling Phillip a “testicle shitting rectal wart” kills me every time.
“It’s Easy, MMMKay”
This Mr Mackey lead number is probably one of the film’s weaker musical ensembles, however the central refrain is stupidly catchy and makes for some laugh out loud moments (e.g. the kid holding a turd during the second verse, or Mackey’s high pitch held note).
“Hell Isn’t Good”
Easily one of the more straightforward musical numbers, this heavy metal jam performed by D.V.D.A. (a comedy band featuring Parker, Stone and others; named after a sex position from the pairs previous film, Orgazmo) illustrates Kenny’s death and fall from ascension (read: eternal boobs) into the spiralling depths of hell. Also, fun fact: I always thought this performance was simply Parker or Stone doing their best James Hetfield impression with some Metallica-esque vocal inflections, however, it appears that it actually is James Hetfield singing here. Wild.
“Blame Canada”
Lead in an outraged chorus by a riled-up Sheila, the mums and dads of South Park scapegoat Canada as the source for their corrupted youth, conveniently ignoring their own faults and failures as disaffected parents. This number earned Parker and Stone an Academy Award nomination for Best Original Song, which was then performed live at the award ceremony by the late comedian Robin Williams, only to lose out to Phil Collins for “You’ll Be in My Heart” from Tarzan (a fact which became useful for Parker and Stone’s eventual mockery of Collins in a later series episode).
“Kyle’s Mom’s a Bitch”
This might just be one of the most offensive songs out of all of them, after “Uncle F***a” that is, especially with Cartman’s blatant racial stereotypes (and some unfortunate blackface). Although the drawn-out cabaret style ending style cracks me up every single time I watch it.
“What Would Brian Boitano Do?”
I’ll confess, I didn’t know who Brian Boitano was when I first saw Bigger, Longer & Uncut, and I still don’t, but his life does seem pretty sweet. Not to mention that the jab at Brian Dennehy in the bridge comes out of nowhere and is complete genius. Also, the freeze frame jump at the end with the three boys is still incredible.
“Up There”
This soaring and empowering number might just be the most overt of the film’s efforts to spoof the entire Disney musical canon. Satan’s sensitivity shines through each verse and bursts out with the radiant chorus, juxtaposed against victims of eternal torment hanging by chains and the lunge deck of the S.S. Manhandler. What’s also worth mentioning is the backing vocals for this number (and particularly the high notes), which are provided by none other than Michael McDonald, known for his work with ’70s jukebox pop outfits The Doobie Brothers and Steely Dan.
“La Resistance”
As an effective medley of the film’s previous musical numbers, “La Resistance” functions as a neat end to the film’s second act and lead into the final act: Gregory leads the kids of South Park is a grotesque description of risk and potential death; the town’s parents double down on the Canadian war effort; and Satan continues to pine away for chance at life ‘up there’.
“I Can Change”
Another weak entry in the musical soundtrack, “I Can Change” is still one of the more musically distinct arrangements, sounding like a perverse B-side from Aladdin.
“I’m Super”
Fans of the show will already be familiar with Al’s super flamboyant dance numbers, but it’s nice that film audiences get a little taste here too. There are oblique references to Don’t Ask, Don’t Tell, male dancers in tiny pink underwear and straight-up gliding shot of Al’s junk.
“The Mole’s Reprise”
With his last, dying, existentialist-ranting breath, the Mole dies in Kyle’s arms, while the boys are vastly more concerned with getting grounded for two or possibly even three weeks. It also serves as a nice little call-back to the refrain from “La Resistance”.
“Mountain Town (Reprise)”
To close the film, Isaac Hayes as Chef leads the entire town in a bombastic and epic reprise of “Mountain Town”, where Saddam is defeated by a DBZ-inspired electric Cartman, Satan returns to Hell and everything goes back to normal. All is right with the world of South Park, Colorado and Kenny finally gets to see some boobs in heaven. Just as it should be.
Join us next time for more DEEP/DIVE, where we tell our mother that we ate it all with teen-comedy royalty, American Pie.
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