When the villagers of Klineschloss start dying of blood loss, the town fathers suspect a resurgence of vampirism. While police inspector Karl remains skeptical, scientist Dr. von Niemann ... See full summary »
Englishmen race to find the tomb of Ghengis Khan. They have to get there fast, as the evil genius Dr. Fu Manchu is also searching, and if he gets the mysteriously powerful relics, he and ... See full summary »
In London, sculptor Ivan Igor struggles in vain to prevent his partner Worth from burning his wax museum...and his 'children.' Years later, Igor starts a new museum in New York, but his maimed hands confine him to directing lesser artists. People begin disappearing (including a corpse from the morgue); Igor takes a sinister interest in Charlotte Duncan, fiancée of his assistant Ralph, but arouses the suspicions of Charlotte's roommate, wisecracking reporter Florence. Written by
Rod Crawford <firstname.lastname@example.org>
To emphasize the similarities between the wax figures and the characters, some names are alike. For example, the suicidal Joan Gale inspires the statue of Joan of Arc. Charlotte, who should have been killed to recreate de figure of Marie Antoinette, was also the real name of the young lady who killed Marat, from the 'Assassination of Marat' depicted in the museum. See more »
Early in the movie, the shadow of the camera is visible on the road as the man crosses the street, and then again when Charlotte walks into the police station, this time on the backs of chairs and on the table. See more »
[to her boss]
I'm gonna make you eat dirt, you soap bubble, I'm gonna make you beg for somebody to help you let go. You may mean the world to your mother but you're a...
[walks away without finishing her sentence]
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The beauty of two-strip Technicolor rendering sensual pastel tones and settings in London (1921) and New York (1933), art direction by legendary Anton Grot, Orry-Kelly gowns, Lionel Atwill at his maddest and Fay Wray in all her splendor, make this one of the finest horror films of not only the 30s but of all time. The pace of this film is fast, the comedy relief enjoyable but not detracting from its story. Atwill imbues his character of Ivan Igor with all the menace and evil he could muster (and that was calibrated in tons!) So far superior to its remake (HOUSE OF WAX with Vincent Price) that it leaves its competitor in the dust. Easily my favorite film to look at after New Year's Eve parties. Fantastic fun and candy for the eyes with all that streamlined Art Deco grandeur!
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