House of Wax (1953)

User Rating:

7.0/10   

Director:

André De Toth

Writers:

Charles Belden (story)
Crane Wilbur (screenplay)

Release Date:

25 April 1953 (USA)

Genre:

Crime | Horror | Mystery | Thriller

Tagline:

UNLIKE ANYTHING YOU'VE SEEN BEFORE! (original print ad - all caps)

Plot:

A horribly disfigured sculptor opens up the House of Wax in New York, using the wax-covered bodies of his victims as his displays. And he's now set his eyes on his Marie Antoinette...

Plot Keywords:

Wax | Sculptor | Morgue | Wax Museum | Fire

Cast

Vincent Price	...	Prof. Henry Jarrod
Frank Lovejoy	...	Lt. Tom Brennan
Phyllis Kirk	...	Sue Allen
Carolyn Jones	...	Cathy Gray
Paul Picerni	...	Scott Andrews
Roy Roberts	...	Matthew Burke
Angela Clarke	...	Mrs. Andrews
Paul Cavanagh	...	Sidney Wallace
Dabbs Greer	...	Sgt. Jim Shane
Charles Bronson	...	Igor (as Charles Buchinsky)
Reggie Rymal	...	The barker

Also Known As:

The Wax Works (USA) (working title)

Runtime:

90 min

Country:

USA

Language:

English

Color:

Color (Warnercolor)

Aspect Ratio:

1.37 : 1

Sound Mix:

Mono | Stereo (WarnerPhonic/RCA)

Certification:

Australia:PG | Netherlands:12 | West Germany:16 (nf) | USA:GP (re-rating) (1971) | Argentina:13 | Canada:PG (Ontario) | Finland:(Banned) (1953) | Finland:K-16 | Norway:16 | Sweden:15 (re-release) | UK:PG (video rating) (1988) | UK:X (original rating) (cut) | USA:Approved (PCA #16385)

Company:

Bryan Foy Productions

Trivia:

The scene where 'Paul Picerni (I)' is rescued from the guillotine by Frank Lovejoy seconds before the blade came down was filmed in one take, using a real guillotine blade. Picerni and director André De Toth got into a heated argument when Picerni, on advice from the film's stuntmen, refused to do the scene as too dangerous (a prop man was to hold up the blade off camera and tell the actors when he dropped it so they could yank Picerni away). De Toth threw him off the picture, but several days later, on orders from studio head Jack L. Warner, De Toth recalled him, and had the prop department modify the guillotine to make it less dangerous. After examining the guillotine, Picerni said he would do one take and no more, which is exactly what happened.

Goofs:

Audio/visual unsynchronized: Prof. Henry Jarrod is heard screaming when he falls into the cauldron of boiling wax, but his mouth is closed during the fall.

Quotes:

Prof. Henry Jarrod: People say they can see my Marie Antoinette breath, that her breast rises and falls , look at her eyes they follow you where ever you go.
Bruce Allison: You know her eyes do follow you.
Prof. Henry Jarrod: They're made of glass mores the pity, the exact size and color of the originals, they're inserted from inside by way of the hollow neck before the head is attached to the body
[looking at the figure of marie antoinette]
Prof. Henry Jarrod: forgive me my dear for discussing your intimate secrets, forgive me gentlemen I lose myself at times.
Sidney Wallace: Professor if people knew what you had inside these walls you couldn't accomodate the crowds, what you need here is exploitation more advertising.
Bruce Allison: Thats what I've been telling him.
Prof. Henry Jarrod: I'm afraid my partner wouldn't agree, he's not happy here he wants to invest in something else, mr. wallace would you care to become a partner in this venture would you buy him out?
Sidney Wallace: I just might take you up on that if my lawyers approve and the price is right.
Prof. Henry Jarrod: With your help I could do wonders and I'd make any sacrifice.
[...]

Movie Connections:

Spoofed in "The Fairly OddParents: It's a Wishful Life/Timmy's 2D House of Horror (#5.8)" (2005)

Suffering for beauty

"Professor" Henry Jarrod (Vincent Price) is a sculptor who works in wax. He's living in New York City in the late 19th Century, and he's displaying his handiwork in a wax museum. When his partner, Matthew Burke (Roy Robert)--really his primary investor--balks at Jarrod's receipts and tries to talk him into moving in a more commercial direction, perhaps with a "Chamber of Horrors", Jarrod protests that he's creating meticulous works of art, not cheap sensationalism. Jarrod tries to interest a new investor, but when the prospect says he can't make a decision for a few months, Burke says he can't wait. He suggests torching the place and collecting the insurance money. When Jarrod refuses, Burke torches the museum anyway, and the two fight. Jarrod supposedly dies in the fire, leaving Burke to collect. However, when a mysterious, disfigured stranger shows up, the resolution may not be so simple.

The debate that Jarrod and Burke have in the opening scene of this remake of Mystery of the Wax Museum (1933) is particularly ironic in light of the film's history. House of Wax was made as a 3D film--a fact made more than obvious from the film's opening credits, which are presented in a font made to look like it is bursting forth from the screen.

In the early 1950s, movie theater box office receipts were down because of television. Film studios and movie theaters were looking for gimmicks that would make films seem more special. They were looking to do things that television couldn't do. According to film editor Rudi Fehr, "The House of Wax was made because the theaters were empty, people were staying home to watch television. In order to lure the audiences back to the theaters, Warner's came out with 3D." While this wasn't the first commercial 3D film--1952's Bwana Devil holds that honor, this was certainly one of the more popular ones.

Studio head Jack Warner told Fehr that he would have five weeks to edit the film after shooting was done. Fehr said they could get it done even quicker if director Andre De Toth would shoot the film in sequence. So Warner demanded just that, despite De Toth's protests. Shooting in sequence is unusual and can make the on-set crew's job much more difficult. But it certainly didn't negatively affect the performances or De Toth's direction, which are both outstanding despite a couple strangely truncated bits of exposition.

Like many 3D films, there are a few shots in House of Wax that might otherwise be inexplicable. The most prominent example here is a huckster who stands in front of the revamped House of Wax doing tricks with three paddleballs. We linger on him much longer than we normally would so that he can bounce the ball into our face. This shows part of the difficulty of 3D--it's difficult to reconcile the most impressive effects from the audience's perspective with narrative needs. Viewed now, in simple 2D on a television screen, the obligatory 3D shots of House of Wax play as quirky, campy curios. For me, that adds to the charm of the film.

Price has an unusual role here in that he plays a good portion of the film with disfigurement makeup, half-limping, hunched over, covered in bulky black cloaks in a manner that somewhat prefigures John Hurt's turn as John Merrick in The Elephant Man (1980). De Toth is excellent at building atmosphere, especially in the "external" shots, which frequently feel more like we're watching a version of the Jack the Ripper story set in London.

Most of the script by Crane Wilbur, based on a play by Charles Belden (which also served as the basis for 1933's Mystery of the Wax Museum, of course), is deliciously flagitious--degenerate in a more over the top manner than was usual for the period. The conflagration at the end of the opening is particularly unexpected and twisted, as is Jarrod's modus operandi throughout the film. It's only too bad that the self-enforced Hollywood "moral code" at the time could not have allowed for a more nihilistic ending. I for one was cheering on Jarrod and his assistant Igor, played by none other than Charles Bronson in one of his earlier roles, when he was still using "Charles Buchinsky".

Although it's difficult to say whether Belden, Wilbur or De Toth intended a message or subtext, it's easy to read a number of interesting angles into the film. To begin, the use of the name "Igor" for the assistant suggests a number of twisted turnabouts on Dr. Frankenstein. Jarrod is even more depraved than the good doctor as he "creates death" out of life, in the service of art. At least it seems depraved if you're not an artist. If you are, you might simply note that one must suffer to be beautiful. That's more than just a flippant remark, as Jarrod suffers financially for beauty early in the film, and Cathy Gray (Carolyn Jones) suffers physically for beauty as she nearly suffocates herself to make herself thin. And of course there's the literal, sinister sense in which the artist makes others suffer to create his beauty. There are also very interesting subtexts available related to goals of realism in art, and of course, the ironic messages noted earlier in the beginning of the film, where we are debating aesthetics versus financial, or more material considerations.

Although House of Wax was popular at the box office in 1953, there was no shortage of critical devaluations of the film as a cheap gimmick, and no shortage of complaints about image quality and eyestrain when trying to view the film in 3D. 3D was only prominent for another year or so (to make periodic returns later, often for "number 3" films in series), but House of Wax is a much better film than it was given credit for at the time. It's not Vincent Price's best, but it's well worth viewing.