MONSTER MAG: WHY LOVERS OF HORROR FILMS LOVED IT SO: VOLUME ONE: ISSUE ONE

DR WHO: VINTAGE DR WHO CLIPPINGS: HARNELL, TROUGHTON, PERTWEE, NATION, BAKER AND JAMESON

VINCENT PRICE 'HOUSE OF WAX' : BLACKBOXCLUB CELEBRATES 60TH BIRTHDAY OF PREMIER TODAY WITH FEATURE AND GALLERY

CAST:

Vincent Price (Professor Henry Jarrod), Phyllis Kirk (Sue Allen), Paul Picerni (Scott Andrews), Frank Lovejoy (Lieutenant Brennan), Paul Cavanagh (Sidney Wallace), Charles Buchinsky [Bronson] (Igor), Roy Roberts (Matthew Burke), Ned Young (Leon Averill)  

PRODUCTION:
Director – Andre de Toth, Screenplay – Crane Wilbur, Based on the Play The Mystery of the Wax Museum by Charles Belden, Producer – Bryan Foy, Photography (3-D) – Bert Glennon & Peverell Marley, Music – David Buttolph, Makeup – Gordon Bau, Art Direction – Stanley Fleischer. Production Company – Warners. USA. 1953.

In 1952 Arch Oboler’s film Bwana Devil (based on the same story that would later be produced as The Ghost and Darkness), and starring Robert Stack, became a surprise box office sensation spawning a short-lived spate of several dozen movies shot in 3-D. The process required that audience members wear special glasses in order to witness the three dimensional thrills promised such as “a lion in your lap.” Although there were many very good 3-D films, most of them were forgettable, offering nothing more than the visual gimmick and these motion pictures killed off the novelty as much as the various problems with the process, which were mostly on the exhibition end.

Over the years 3-D has periodically re-surfaced either as one-shot endeavors — The Stewardesses, The Mask, Arch Oboler’s The Bubble – or even a full fledged trend as it did in the 1980s when several movies — Jaws 3-D, Friday the 13^th 3-D, Amityville Horror 3-D, among others — were shot in the process. Lately, a new 3-D trend, sporting vastly improved technology, has gained momentum with special 3-D versions of The Polar Express, A Nightmare Before Christmas, Beowulf and Journey to the Center of the Earth along with special sections of films like Superman Returns and Spiderman 3 converted to the process. It would seem the time is ripe to re-examine one of the greatest of all 3-D motion pictures, the 1953 Warner Bros. production House of Wax.

In dollars adjusted for inflation House of Wax is the box office champ of 3-D movies, accruing a blockbusting $250 million in ticket sales. In many ways this is not surprising as the film is not only a spectacular showcase for the 3-D but an extremely well thought out and crafted piece of cinematic entertainment. It has influenced a couple of other wax museum films like Nightmare in Wax and Chamber of Horrors not to mention getting it’s own remake in 2005.

House of Wax was a remake of an earlier Warner Bros. Hit, the 1933 Mystery of the Wax Museum which starred character actor Lionel Atwill and King Kong’s leading lady Fay Wray. This earlier film was famous as one of the relatively rare two-color Technicolor sound productions and for a certain pre-code grisliness that would disappear once the Catholic Legion of Decency pressured Will Hay’s to enforce the Motion Picture Production Code.

The story, based on Charles Belden’s play, concerned a London sculptor who manages a financially strapped wax museum that features recreations of historical figures. When his partner tries to burn down the showcase, the artiste presumably dies in the fire. Shortly afterwards, the sculptor pops up in New York with a new museum and seemingly none the worse for his experiences. However, as the story progresses, we learn that he is unable to create new masterpieces due to injuries received in the fire. Instead, he must find human replicas who, after giving their lives for his art, can be displayed in his museum as wax figures. Elements of this story have given rise to other films such as A Bucket of Blood in which a sculptor similarly uses corpses covered with modeling clay to achieve his goals.

House of Wax, set in the gaslight era and with a script by Crane Wilbur, hews closely to the original story. Vincent Price plays Prof. Henry Jarrod, a gentle artist interested in the creative expression of his work and the lifelike qualities of his creations that make them real people for him. When his partner (Roy Roberts) attempts to burn down the museum, Jarrod seems to perish in the conflagration. But not long after he is back at work busily preparing to open a new museum, this time with a more commercial focus centering on sensationalized representations of famous murderers and murder victims.

Meanwhile, a horribly disfigured man wearing a cloak and opera hat prowls the streets of New York City. He kills flighty Cathy Gray (Carolyn Jones, the lovely Morticia on TV’s The Addams Family) but is scared away by her roommate Sue Allen (Phyllis Kirk). Later, her body is stolen from the morgue and an incredible likeness of her turns up as Joan of Arc in Jarrod’s museum. Noticing the similarity, Sue is pursued by the misshapen, hunched over killer in a particularly effective foot chase through the deserted, fog enshrouded streets of London. Sue eventually finds herself in the clutches of Jarrod as he plots to use her for his ultimate version of Marie Antoinette. Only by dint of her boyfriend Scott (Paul Picerni) and the police, Lt. Tom Brennan (Frank Lovejoy) and Sgt. Jim Shane (Dabbs Greer), does she escape being immortalized under a covering of hot wax.

The movie was directed by Andre De Toth, who, like another director, Raoul Walsh, only had one eye. Yet, lacking the ability to see three dimensions, De Toth, with cinematographers Bert Glennon and J. Peverell Marley, created a motion picture that most perfectly captures the thrills and possibilities of the process.

The aforementioned street chase makes terrific use of depth by shooting down narrow, fog choked, night time streets. Fog and smoke are especially effective in 3-D movies because they often appear to permeate the air in the theater, often hanging over the heads of the audience. De Toth’s blocking of the actors is also perceptive, the director having them run from downstage to upstage and bringing them into close-up or mid-shot, their closeness to the camera emphasizing the distance behind them.

There are two particularly startling uses of 3-D in the movie. One is a rather obvious breaking of the fourth wall as a street barker (Reggie Rymal), attired in tux, tails, hat and white gloves attracts customers to the museum not only through his loud, incessant spiel but also by dexterous trick work with some paddle ball toys. You’ve seen these, the wooden paddle with a rubber ball attached to it by an elastic band. You hit the ball and the elastic band pulls it back to the paddle for another whack. The barker skillfully lobs the balls directly at the camera keeping them within the frame. This is vital to the success of 3-D effects emerging from the screen because should they pass any of the four corners of the frame they immediately appear to be inside the frame rather than out in the auditorium. Many potentially good 3-D effects have been spoiled by this failure to keep objects firmly within the borders of the frame. The illusion in this case is that the balls are coming out of the screen and stopping at the rear of the seat in front of you.

The other example is arguably the most spectacular 3-D effect ever. Late in the picture Scott rushes to the aid of Sue. He reaches a door which he must break open to reach her. My own experience of this scene, echoed by others who enjoyed the same illusion, began when a man stood up in front of me. I leaned around this black silhouette to continue watching the movie. Fortunately, the rude theater patron moved off to the right down his row of seats. In my peripheral vision I was vaguely aware that instead of going to the back of the theater, perhaps to get some refreshments, the man instead moved towards the front of the theater. In fact, he ran down the aisle towards the screen and leapt into the picture. He immediately emerged into the light, attacking Scott and revealing himself to be Jarrod’s mute henchman Igor (Charles Bronson, then billed as Buchinsky). The nearly full house let out a collective, “Whoa!” in astonishment. I sat through the movie three times in order to enjoy this magnificent illusion. Unfortunately, it only works in movie theaters when you are sitting well to the left of an aisle.

The world of horror fandom has often debated whether or not the audience was meant to connect the horribly burned murderer with Vincent Price. Many find it inconceivable that audiences of the day would not have figured out the “twist” almost immediately. In hindsight, the presence of Mr. Price would no doubt tip off an audience, but in 1953 he had not yet acquired a reputation as a horror actor. That would come later. It’s safe to say that some would have figured it out, but many other viewers would only guess that Price was the monster from having seen the original film.

Frankly, since I think the film was structured as a friendly horror film, nothing more than a cinematic version of a carnival haunted house, knowing the identity of the killer doesn’t detract one bit from the film as entertainment. Which is to say that the filmmakers didn’t want to make it too rough on the audience, in contrast to some horror films of today which become a near endurance test. It’s supposed to be a fun movie. Therefore, the scares are only momentarily shocking or scary, the moody lighting and spooky music (by David Buttolph) meant to provide safe thrills and fun chills, like those on a roller coaster ride.

Price’s make-up (by George Bau) is quite grisly, to be sure, but the rest of the movie is very light in tone. First, there is Carolyn Jones’ insistently perky character, a likeable young woman on the prowl for a husband or, at least, a sugar daddy. She doesn’t speak so much as chirp. And she is perennially upbeat.

With Jones we see a second facet of this motion picture. It weaves details of turn of the century living into the fabric of its story. For instance, one key scene demonstrates, much like a similar scene in Gone With The Wind, the difficulties and mechanics of getting into a corset. Jones’ philosophy also reflects real concerns of a woman in her time. Another “learning” moment for the audience occurs when a citizen blows a police whistle and then explains he blew it to call the police.

And the film is strewn with moments guaranteed to keep the proceedings light and frothy. Price’s tours of the museum are clearly conducted in a tongue-in-cheek manner, Price all but winking at the audience. There is running gag with some women who tend to get “the vapors” or swoon rather easily, either by some suggested horror in the museum or just watching the paddle ball barker pop three of the rubber orbs into his mouth. The barker himself is a garish touch that tends to remind the viewer that they’re watching a movie. As if 3-D wasn’t enough of a fourth wall breaker, the barker, looking into the camera at us, even warns us to watch our popcorn as he fires a paddle ball volley right between our eyes.

More humorous uses of 3-D involve Charles Bronson‘s character Igor. At one point in the film, Sue is watched by a row of mute wax heads. When she moves away one of the head moves — it’s Igor, the real mute, not a replica of his head. (This “surprise” really doesn’t work in 3-D. Because of the depth the viewer can tell that the Igor head is set further back from the other heads and is actually behind the shelf unit.) And at the end of the film, accompanied by comical music, a replica of his head is thrust at the camera.

Oh, yes, House of Wax has its creepy moments. Price, in his make-up as the disfigured monster chasing Kirk through the streets is suspenseful and exciting. The scene in the morgue, Price crossing the rooftops to invade Kirk’s bedroom at night, killing Roy Roberts in his office, and the famous unmasking scene all work their magic in producing goosebumps. David Buttolph’s score, originally heard in four track stereo sound, aids immeasurably in aiding and sustaining the mood, his music a symphony of madness with its distinctive, high pitched trills (and much in need of a CD release). It is this dynamic between humor and horror that gives House of Wax a unique tone.

Some complain that this lightness interferes with the horror, preferring the more straight forward horror of the original film. However, the original had its own share of humor in the bickering banter between reporters Florence (Glenda Farrell) and Joe (Frank McHugh) and the newer film reminds us of these hardened, cynical reporters in the hardened, cynical cop played by Dabbs Greer. True, the humor is more pronounced in the latter film, but it is the expert weaving of the two elements, along with its excellent 3-D, that has made House of Wax a popular favorite for over fifty years. Perhaps it’s time for a reissue using the new, improved technology?

Meanwhile, House of Wax is available on Warner Bros. DVD. One release included the original Mystery of the Wax Museum as a bonus. In Japan, a sequential 3-D version was available on video.

REVIEW: Ryan Brenan
REVIEW: HERE
IMAGES: Marcus Brooks

HAMMER FILMS: EARLY CAROLINE MUNRO GLAMOUR SHOTS: 1969 /1970

AS IF IT ISN'T ENOUGH TO HAVE ONE CAROLINE MUNRO GALLERY ON THE GO THIS WEEK, HERE'S ANOTHER FEW SHOTS PRE HER HAMMER FILM PRODUCTIONS APPEARANCES. MORE TO COME...

Link To Source: http://barebonesez.blogspot.com

DR WHO: VINTAGE RADIO TIMES FEATURES: ALL THIS WEEK!

RADIO TIMES LISTING MAGAZINE DECEMBER 28TH 1972

AFTER THE JINGLES: TOM BAKER PART ONE: 'ASK ME ANYTHING'

This wasn't really meant to be an interview...  I went along to meet Tom Baker with the intention of recording a dozen or so  jingles for the Black Box Club Audiozine, back in the late 80's. He was performing in the West End, London. Five evening shows and two matinees a week. It was gruelling.  J.B. Priestley's 'An Inspector Calls' was on the school syllabus that year and Tom was cast as 'The' Inspector. Every performance, through the bright lights, he could just see the first eight rows of sixth formers, heads buried in the text book scripts on their laps. I had prepared myself for what could be a bumpy ride.

All was not well in the world of Tom at this time. Conversation avoiding his past television work for the BBC was recommended.... But hey, I was just going along to say hello and thank you. I met him in his dressing room after the Wednesday matinee, he looked tired and just a little edgy. After recording the jingles, which made him titter, he relaxed, thawed. You have to consider, the days of  Tom Baker being a household name again, by supplying his rich tones for segs between the sketches on the BBC's 'Little Britain' series, were a good ten years away. Announcing our 'Dr Bedlam's Bedtime Terror Tales' and comparing the Black Box Club to a tray of cat litter, made him smile. After fifteen minutes, we were done. But, we kept chatting into the microphone. We kept the tape rolling. I told him I hadn't come for an interview, I wasn't prepared. He grinned that, wide grin and rumbled, 'Ask me anything'.....

I laughed, for two hours.

DON'T MAKE ME LAUGH.

" I think that people who know me quite well, and I would agree with them, would say, probably that I have no sense of humour what so ever. And I think I would have to agree with that.  I can't say instantly, what makes me laugh. but, silly things, silly things make me laugh.  I have no, I am not intellectual at all in what makes me laugh.  Dr Who used to make me laugh. BEING Dr Who used to make me laugh, quite a lot. So, you can see how silly I really am....

I find people who tell jokes, really just embarrass me. Sometimes I can be very rude, when someone tells me a joke.  Especially if they preface the joke with, 'You'll like this one!'  It's likely to produce an absolute explosion. especially if I am the one who is buying the drinks.  I hate people who tell me jokes.  There are certain groups of people, types of people who tell jokes. They say, 'Have you heard this one? There was this fellow in a Chinese take-away, he was Welsh actually!' I instantly feel the pins and needles racing up my legs."

ACTING FOR A LIVING.

" Well, you see. I don't think I am very good at it, at all. I think sometimes I am what they would say, a little naughty or what some people would say bloody  unprofessional.  I mean the BBC apologised for my Sherlock Holmes. ... and I can't say I blame them."

WORKING and BEGGING FOR A LIVING.

" I can't think of one single lousy job that I've done, I've done so many. Most of them have been my fault actually. But you have to work. You see, I think the standard of begging as gone down, I'm afraid. There was a time when beggars used to tell good stories and had angles. But now, most them are idle sods. Beggars  used to drink wine or beer. Now, buggers just drink Carlsberg special...

How can they possibly have a good cabaret act if they've been drinking Carlsberg Special? I mean, you can't have a sense of pleading  if, well if they've been drinking Carlsberg Special, they can't say anything! And so when the fellow comes up and says 'Err...err....Can I ...err...!'  He can't even remember what he was going to ask!  And I know. He was going to ask me for some money, before he quaffed his Carlsberg! He wants to have five pounds, but he can't get it out. They don't even ask you for five pounds. They are so scummy now, that they ask you for ten pence! I can't be doing with people who ask for ten pence. They should pitch it higher! Ask me for ten pounds at least for a bottle of scotch, for God's sake!  Aim high or sit down!"

To Be Continued..... 

Marcus Brooks.

PETER CUSHING: HAMMER FILM PRODUCTIONS: VAN HELSING: PICK THE BEST OF THE BEST!

Peter Cushing has played VAN HELSING and descendents of VAN HELSING in five of Hammer Film Productions 'DRACULA' films.. Which one is your favourite performance?

HAMMER FILM PRODUCTIONS: IS THIS THE BEST OPENING TO ANY HAMMER FILM?

WHAT DO YOU THINK?

HAMMER FILMS PRESS RELEASE ANNOUNCES SEQUEL TO 'THE WOMAN IN BLACK' 'THE WOMAN IN BLACK : ANGLES OF DEATH'

Hammer, Alliance Films, and Cross Creek Pictures are set to re-team with acclaimed author Susan Hill on a film follow-up to The Woman In Black. Announced today by Hammer and their parent company Exclusive Media, The Woman in Black: Angels Of Death, is a new film which continues the story of The Woman in Black 40 years on. Screenwriter Jon Crocker (Desert Dancer) is now developing the screenplay for the next installment in the series based on an original story by Hill, under development for the past few years and now complete.

HAMMER PRESS RELEASE:

The Woman in Black, starring Daniel Radcliffe and directed by James Watkins (Eden Lake) has become the highest grossing British horror film of the past 20 years, grossing over $33 million in the UK and recently crossing the $120 million box office mark worldwide.

The Woman in Black was set in the early 1900’s and based on the tale of a young lawyer who is ordered to travel to a remote corner of the UK, to sort out the papers of a recently deceased client. In the eerie setting of Eel Marsh House he discovers the vengeful ghost of The Woman in Black. This next installment, The Woman in Black: Angels Of Death, will continue this story four decades later and focus on the concept of a couple and the experience they have when they encounter the haunted setting of Eel Marsh House.

The Woman in Black: Angels Of Death will be brought to the big screen by the same production team behind The Woman In Black. The Film will be produced by Exclusive Media, Talisman, Cross Creek Pictures and Alliance Films, in addition to Roy Lee of Vertigo Entertainment, who will serve as Executive Producer.Simon Oakes, Vice-Chairman of Exclusive Media and President & CEO of Hammer Films said: “We are proud and honoured to be working with Susan again on The Woman in Black: Angels Of Death, a wonderful new tale every bit as atmospheric and terrifying as its predecessor The Woman in Black.”

Nigel Sinclair Co-Chairman and CEO of Exclusive Media added: “It’s thrilling to be able to work with someone of Susan’s literary calibre on such a fascinating project. It’s also fantastic to have Jon on board again to help bring this new story to life on the big screen.”

SUBSCRIBE OR CALL BACK FOR MORE NEWS TO THEBLACKBOXCLUB.COM

CAROLINE MUNRO 'DRACULA AD 1972' GALLERY HAMMER FILMS LARGE PHOTOGRAPHS FROM TRANSPARENCIES

A NEW PHOTOGRAPH ADDED EVERY DAY FOR THE NEXT FOURTEEN DAYS!

A NEW PHOTOGRAPH ADDED EVERY DAY FOR THE NEXT FOURTEEN DAYS!

A NEW PHOTOGRAPH ADDED EVERY DAY FOR THE NEXT FOURTEEN DAYS!

(DAY ONE)

(DAY TWO)

(DAY THREE)

(DAY FOUR)

(DAY FIVE)

(DAY SIX)

(DAY SEVEN)

(DAY EIGHT)

(DAY NINE)

(DAY TEN)

(DAY ELEVEN)

(DAY TWELVE)

(DAY THIRTEEN)

(DAY FOURTEEN)

PETER CUSHING, CAROLINE MUNRO AND DOUG MCCLURE 'AT THE EARTH'S CORE'

A great photograph of Peter with Caroline Munro and Doug McClure on 'AT THE EARTH'S CORE' (1976) Which prompts me to remind you to pop in this weekend for our 'Caroline Munro Dracula AD 1972' Gallery, a great full review and gallery of 'AT THE EARTH'S CORE' and some more candid photographs of Peter. In the meantime, As it's Friday, I'll be announcing the winner of last weeks' 'HAMMER FRANKENSTEIN FRIDAY /HORRORUNLIMTED COMPETITION' tonight...!