What do you call an economic system where:
- Everything is sexualized?
- But sexuality is repressed?
- Products are treated as people?
- People are treated as commodities?
- Theory promises the greatest happiness possible
- But in reality devours those who believe it?
Of course, that system is the patriarchal sausage party called capitalism. And that’s exactly what’s satirized in the film by the same name. The computer-generated animated comedy is raunchy, sophomoric, scatological, irreverent, suggestive and filled with non-stop double entendre. At the same time, it is artistic in its imagery and creative in terms of its star-studded voice cast. Above all, “Sausage Party” is trenchantly critical of capitalism’s ideology and practice.
“A happy-go-lucky sausage (voiced by Seth Rogen) and his supermarket buddies including a hot dog bun (Kristen Wiig), a bagel (Edward Norton), a sausage (Michael Cera) and a taco (Salma Hayek) learn about the horror that awaits them when humans bring them home to chow down. Despite the hostility they get from other supermarket items . . . they embark on an existential adventure to escape from their edible fate. This raunchy animated comedy . . . holds the distinction of being the first R-rated computer animated feature.”
That’s the apparent tale. However, as it unfolds, the comedy reveals itself as an elaborate send up of capitalist theory that crumbles upon its entry into the real world.
Literally (and revealingly) set in a “Market,” “Sausage Party” cleverly presents products as people – or is it people as products? Like characters reminiscent of Plato’s “Parable of the Cave,” hot dogs, buns, honey mustard, a damaged douche container, and every other super market product you can think of, have all been seduced by a theologized theory that promises a marvelous utopia awaiting them in the “real world” outside the realm where market’s theory is constantly celebrated as a gift from God.
However, like enthusiastic commodified workers hired by employers, the “chosen” soon realize a reality harshly at odds with the theory they’ve learned so well. What was supposed to fulfill actually devours them along with people from all over the world. Meanwhile the commodities’ all-white directors are stupid, dirty, unconscious, and unthinking materialists with no clue about the havoc they’re actually wreaking across the globe.
With all of this in mind, “Sausage Party” becomes a rich satire redolent not only of Plato’s Cave, but of other classic themes including The Journey, The Quest for Truth and Meaning, the Power of Popular Revolution, and the Supremacy of Love and Hope over Blame and Guilt.
It becomes the story of how commodified people come to the realization that their rulers are restricting, exploiting, and destroying them. They become conscious that the entire market system is necrophilic, because it is based on death itself. It employs highly theologized propaganda to induce guilt about perfectly natural impulses (like love and sex) that might otherwise encourage fellow-feeling and awaken rebellious tendencies.
Despite overwhelming obstacles and odds, the conscientized overcome the divide-and-rule distinctions their keepers have imposed. Men join forces with women, blacks with whites, Hispanics with Anglos, Jews with Arabs, gays with straights, and atheists with believers. They take up arms against their oppressors, overthrow the establishment replacing its chaos with an order based on free love and joy. (Sausage Party’s concluding sexual orgy is remarkable.)
In short, “Sausage Party” is about the power of love and natural instincts to destroy an artificial capitalist system based on deception, repression, guilt and tribalism.
For those reasons, the film is worth seeing. But leave the kids at home for this one.