Many people have asked me, “Why do you love Troma?” Before being able to answer the question, they bombard me with their opinion on the film company. They state that it’s sick garbage that pushes the boundaries for no reason other than to say they did. Their films are crass, offensive, vulgar, obscene, disgusting, sexist and downright filthy.
I always respond with, “You answered your question for me.” The reasons stated above as to why Troma is “sick garbage” is why I love the company! Well, outside of the sexist remark, which I don’t quite see. Sure, some of their films have been cruel to a certain gender. Even so, most of those tend to be virulent with both parties, not just one in particular.
As for everything else stated, I can’t disagree with them. Troma films are filthy and obscene journeys that tend to play like bad acid trips (so I’ve heard). It’s because of those careless, devil may care antics that I’m drawn to their films. Unlike most of Hollywood’s offerings, they provide something fresh and unique. Not only that, but it’s hard to keep your attention away. You’re always curious to see what boundaries they leap over next.
Which is the entire point of the company. Believe it or not, Troma co-founder Lloyd Kaufman never set out to make “bottom-of-the-barrel” cinema. His original aspiration was to create Broadway plays (which you can see seep through in my favorite Troma film, “Sgt. Kabukiman, N.Y.P.D”). It wasn’t until helping out a friend with a low-budget film that he noticed the true power of shock cinema. That and the works of B-movie master Roger Corman, which helped spark his love for movies.
Ever since, he, along with Troma co-founder Michael Herz, have produced, wrote, directed and distributed low-budget shock films. Some of their biggest hits have been “The Toxic Avenger”, “Class of Nuke ‘Em High”, “Tromeo & Juliet”, “Terror Firmer”, “Cannibal! The Musical”, “Mother’s Day” and “Poultrygeist: Night of the Chicken Dead”. All of these films are prime examples of Troma’s envelope-pushing attitude. They include nudity, sex, violence, gore, foul language and bodily functions spewing freely from every orifice.
Though I may not be the biggest fan of all these aspects (truth be told, vomit and defecation make me queasy), I do admire their role in most of Troma’s films. Even if the film is a failure, I at least know that I’ve watched something out of the ordinary that, for all intent and purposes, wasn’t boring. It may have sickened and possibly offended me, but it kept my attention. For the ones that do succeed in entertaining me (which is plentiful), I’m greeted with a twisted smile on my face.
I can’t defend Troma and state that their films are art (though an argument could easily be made). Hell, I don’t expect Kaufman, Herz and company to even argue that. They’ve spent quite enough of their own time in satirizing these criticisms, splendidly I might add. What I can do is defend my love for the studio. As a lover of B-cinema and all things strange, Troma fills the void that is usually lacking in content.
Though I enjoy Hollywood blockbusters, poignant dramas and art house films, Troma holds a special place in my heart. For when I’m feeling down and blue, I know I can pop in a Troma film and be whisked away into another reality called “Tromaville”. When I’m in the mood for something eccentric and bizarre, I can count on them to pique my curiosity. For that, I love them!