Reviewed by Glenn Erickson
A Vincent Price favorite, and probably the feature that propelled him in the direction of the
horror genre, House of Wax is also the most famous release of the early 50s
3D phenomenon. It's a lively but corny
production soaked in the terrific Warners production values of the time - brassy music, great sound
effects - and some gruesome makeup.
Warners hasn't revived the 3-D for home video, which will dismay some viewers. 1
But it has included the original version of House of Wax, made twenty years earlier
in the limited-hue 2-Strip Technicolor process. This has only become possible since the pre-1950
Warners titles, owned by Turner, returned to the Warner distribution fold in 1999 (it's a
long story). So this economical disc is actually a knockout double feature. The older version,
with Lionel Atwill and Fay Wray, is a bonafide horror classic.
House of Wax
Warner Home Entertainment
1953 / color / 1:37 full frame / 90 min. / Street Date August 5, 2003 / 19.98
Starring Vincent Price, Frank Lovejoy, Phyllis Kirk,
Carolyn Jones, Paul Picerni, Roy Roberts, Angela Clarke, Paul Cavanagh, Dabbs Greer, Charles Buchinsky
Cinematography Bert Glennon, Peverell Marley
Art Direction Stanley Fleischer
Film Editor Rudi Fehr
Original Music David Buttolph
Written by Crane Wilbur from a play by Charles Belden
Produced by Bryan Foy
Directed by André De Toth
1900. Professor Henry Jarrod (Vincent Price) turns up out of nowhere with a new Wax
Museum, just as Lt. Tom Brennan (Frank Lovejoy) and Sgt. Jim Shane (Dabbs Greer) are trying to
solve several mysterious disappearances. Sue Allen (Phyllis Kirk) can't help but investigate
herself, after her girlfriend Cathy Gray (Carolyn Jones) disappears, and seemingly reappears as
a statue of Joan of Arc. Suspicion starts to center on the kindly, crippled Jarrod, just as he
decides Sue would be the perfect 'model' for a new exhibit.
Savant's never been a huge fan of this breezy thriller, as it wasn't very scary when we saw it
on television. Vincent Price's
horror makeup is too clearly revealed at about the midpoint, which dulls the impact of the climax.
For the first time, however, we see Price at his full power, chortling over his victims and making
morbid speeches about art and destiny. There's an attempt to get some quaint charm from the thick-headed
cops, who come roaring to the rescue in horse-drawn wagons. The film is without a strong male lead,
leaving Price with no real competition. Sincere but colorless cop Frank Lovejoy struggles to
find out what we already know, and the female lead's boyfriend almost gets his head lopped off in
a guillotine. A young Carolyn Jones is fine as an unlucky girlfriend, and an even younger Charles
Bronson (billed as Buchinsky) is instantly recognizable as granite-faced, deaf mute henchman.
The original big draw was the 3-D gimmick. Savant saw a 1971 reissue at Grauman's Chinese,
in the true old-fashioned Polaroid system, and it was terrific. The frequent lunges at the camera
during fights, and obvious gags like the paddleball barker at the front of the Wax Museum worked
well, but the really effective scenes were the opening conflagration and some atmospheric
fog scenes about halfway through. The fog appeared to extend into the theater, just as claimed in
the propaganda, making us feel as if we really were in a dark nighttime street. The original
directional stereo sound helped, too.
Phyllis Kirk is always noted in fan mags as being one of the original Lois Lanes in the
Superman television show; and the director of this 3D extravaganza was André De Toth,
a noted one-eyed film director.
Mystery of the Wax Museum
Warner Home Entertainment
1933 / color / 1:37 full frame / 77 min. / Street Date August 5, 2003 / 19.98
Starring Lionel Atwill, Fay Wray, Glenda Farrell, Frank McHugh, Allen Vincent, Gavin Gordon, Arthur Edmund Carewe
Cinematography Ray Rennahan
Art Direction Anton Grot
Film Editor George Amy
Original Music Cliff Hess
Written by Carl Erickson, Don Mullaly from a play by Charles Belden
Produced by Henry Blanke
Directed by Michael Curtiz
Ivan Igor (Lionel Atwill) turns up in New York, 1933, hoping to reestablish a
Wax Museum he lost in a fire in London. By all accounts the attraction should be a success, but
two roommates, wiscracking reporter Florence Dempsey (Glenda Farrell) and gorgeous ingenue Charlotte
Duncan (Fay Wray) upset Igor's plans ... Florence thinks various missing bodies are being used in
the Museum's exhibits, and Igor decides that Charlotte would be perfect as his new 'Marie Antoinette.'
The real thrill in this two-movie set is the featured second show, the Michael Curtiz
version made twenty years earlier. Set in contemporary New York, this version has smooth-talking
Lionel Atwill for its horror star, waxing enthusiastic over the beauty of gorgeous Fay Wray. The
script has a great mix of German-expressionistic visual touches, contrasted with
early Warners wisecracking banter supplied by the unstoppable Glenda Farrell, an almost-forgotten
leading lady who would soon be eclipsed by Joan Blondell. Many horror purists decry the smart
talk, but the
pre-code attitude (at one point she comes this close to saying, 'Son of a b ...') is
delightful, especially the way Farrell stands up to her verbal matchmate, editor Frank McHugh.
Other pre-code themes run wild in the crazy plot. A master sculptor (Arthur Edmund Carewe, from
Paul Leni's silent The Cat and the Canary) is also a heroin addict, and besides craving
his fix like a rabid dog, the movie shows cops brutally interrogating him while making rough comments
about his addiction with words like 'junkie'. The force is tainted with corruption - when Farrell
uncovers a coffin packed with bootleg liquor, she demands her share before the cops can take it all!
Mystery of the Wax Museum is designed by the great Anton Grot (A Midsummer's Night Dream,
The Sea Hawk, Mildred Pierce) and looks terrific in 2-strip Technicolor. Most hues are either
a dirty-looking peach color, or a sickly blue green, but Grot has arranged his stylized sets to good
effect. Igor's underground lab below the Wax Museum is a riot of strange staircases, weirdly-lit
cubistic corridors, and a steel-and-concrete 'waxitorium' where a giant vat of pinkish wax boils,
ready to engulf the next victim. The limited hues give the film the look of a faded vintage magazine.
The museum abounds in wax exhibits, that couldn't be made of wax because of the hot Technicolor
lighting. Instead, real actors are used in tableaux vivants. In giant closeups, the
supposed wax statues are seen to wiggle their lips and eyes, right in the middle of shots. Either
the early moviolas weren't good for seeing such details, or the makers figured nobody would notice,
but the motions are so frequent and obvious, it's almost funny. One figure of Queen Victoria blinks
visibly in longshot. This aren't subtle details, but something you can't miss.
That detail doesn't affect the excitement of the story, which plays really well even when
there's no soundtrack score. Curtiz's direction is always dynamic, especially the ending fight.
The highpoint is the unmasking of the villain, whose identity has been fairly-well hidden up
until a great Phantom-of-the-Opera moment. Faye Wray lets loose with a terrific shriek, certainly
one of horror's top
ten. "You Fiend!", she screams, and she looks so scared, we forget this is a situation that must have
been a cliché in 1933. This is great pulp horror.
Warners double-bill of House of Wax & Mystery of the Wax Museum is on a flipper disc,
one feature to a side. House
looks fine in warmish Warner color, with its brassy 2.0 track blasting out very clearly. Some
premiere footage (showing Bela Lugosi in
attendance!) and a trailer hyping the 3D process are included as extras.
Mystery was considered a lost film until a single perfect print showed up. It was
re-premiered at Filmex in 1971 (where we saw it with Ms. Wray in attendance), and
has its share of scratches, especially
around reel changes. But it is complete and intact, and the Warner engineers have carefully
refurbished its thin soundtrack.
House of Wax and Mystery of the Wax Museum are two very different versions of the
same story. The remake is a light thriller for kids, and the original is a stunning horrorshow
from a time in Hollywood when the genre was 'A' picture subject matter. Warner home video has
delivered a pair of delicacies, for connoiseurs of shock.
On a scale of Excellent, Good, Fair, and Poor,
House of Wax rates:
Supplements: premiere footage, original trailer
On a scale of Excellent, Good, Fair, and Poor,
Mystery of the Wax Museum rates:
Packaging: Keep case
Reviewed: August 12, 2003
1. There's more than one viable
home video 3D system at present, but we don't see any big studios jumping into the fray with titles
like this one, Kiss Me Kate,
or It Came from Outer Space.
Spy Kids 3D might give some of them ideas, but Savant thinks the reason studios haven't
done this is inertia - they don't know anything about it. Second possible reason - they aren't
willing to put cash into anyone else's proprietary systems ... if they don't own it outright, no dice.
DVD Savant Text © Copyright 2003 Glenn Erickson
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