PUNTUACIÓN EN IMDb
7,0/10
20 mil
TU PUNTUACIÓN
Un hombre quema un museo de cera con el dueño dentro, pero este sobrevive y se convierte en un vengativo asesino.Un hombre quema un museo de cera con el dueño dentro, pero este sobrevive y se convierte en un vengativo asesino.Un hombre quema un museo de cera con el dueño dentro, pero este sobrevive y se convierte en un vengativo asesino.
- Premios
- 1 premio y 2 nominaciones
Charles Bronson
- Igor
- (as Charles Buchinsky)
Oliver Blake
- Pompous Patron with Watch
- (sin acreditar)
Holly Brooke
- Woman
- (sin acreditar)
Joanne Brown
- Girlfriend
- (sin acreditar)
Steve Carruthers
- Museum Patron
- (sin acreditar)
Leo Curley
- Portly Man
- (sin acreditar)
Dan Dowling
- Museum Patron
- (sin acreditar)
Frank Ferguson
- Medical Examiner
- (sin acreditar)
Argumento
¿Sabías que...?
- CuriosidadesAlthough the film was produced in 3D, ironically, director André De Toth was blind in one eye and hence could not see the effect.
- PifiasDuring the fight scene between Henry Jarrod and his ex-business partner Matthew Burke, Burke grabs a flail and hurls it towards the camera. As the flail reaches the top of the screen, the camera shakes vertically for a moment. This is because the handle of the flail hit the top of the camera.
- Citas
Prof. Henry Jarrod: Once in his lifetime, every artist feels the hand of God, and creates something that comes alive.
- Versiones alternativasReleased in Japan in the short-lived VHD format in 3-D. This disc has been widely copied to make bootleg tapes and DVDs.
- ConexionesEdited into FrightMare Theater: The House of Wax (2022)
Reseña destacada
Is this movie as much fun in 2D?
Perhaps I've been lucky. I've only seen this film twice in the past 15 years, but both times were in 3D, the second time last night. The crowd just loved it, with a big round of applause at the end.
The paddle ball scene is a highlight, but the reprise of the paddle ball is even more hilarious. It's completely over the top, and helps to create the carnival atmosphere that makes the film so effective in a large group.
The really dramatic 3D effects in this film are played for laughs, and I think that's one of the keys to its overall success. Director André De Toth treats the gimmick as a gimmick, and doesn't try to get more out of it than that. Hitchcock, in "Dial M For Murder", tried to use the technology for dramatic effect, but that was a complete failure. The gimmick gets in the way of real drama. The attempted murder of Grace Kelly in "Dial M" is more shocking in 2D. In 3D, you're completely jolted out of your involvement in the scene when Grace's grasping hand comes lunging halfway out into the audience at you.
In "House of Wax", the effect found its real home, a melodramatic thriller, played by everyone with tongue firmly in cheek.
De Toth composes his shots really nicely, I think. There's some foregrounding of chandeliers and other props, but never too much. He mostly holds back on the effect until he can make the best use of it -- the paddle ball, the can-can dancer's round bottom, the bust of Charles Bronson at the end. There is one great 3D thrill, the shot where Bronson, playing Vincent Price's evil mute assistant, has to grapple with policeman Frank Lovejoy. Bronson appears to leap out of the audience and onto the screen; it's an unexpected moment, and a real treat.
The paddle ball scene is a highlight, but the reprise of the paddle ball is even more hilarious. It's completely over the top, and helps to create the carnival atmosphere that makes the film so effective in a large group.
The really dramatic 3D effects in this film are played for laughs, and I think that's one of the keys to its overall success. Director André De Toth treats the gimmick as a gimmick, and doesn't try to get more out of it than that. Hitchcock, in "Dial M For Murder", tried to use the technology for dramatic effect, but that was a complete failure. The gimmick gets in the way of real drama. The attempted murder of Grace Kelly in "Dial M" is more shocking in 2D. In 3D, you're completely jolted out of your involvement in the scene when Grace's grasping hand comes lunging halfway out into the audience at you.
In "House of Wax", the effect found its real home, a melodramatic thriller, played by everyone with tongue firmly in cheek.
De Toth composes his shots really nicely, I think. There's some foregrounding of chandeliers and other props, but never too much. He mostly holds back on the effect until he can make the best use of it -- the paddle ball, the can-can dancer's round bottom, the bust of Charles Bronson at the end. There is one great 3D thrill, the shot where Bronson, playing Vincent Price's evil mute assistant, has to grapple with policeman Frank Lovejoy. Bronson appears to leap out of the audience and onto the screen; it's an unexpected moment, and a real treat.
útil•373
- Varlaam
- 24 ene 1999
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Detalles
- Fecha de lanzamiento
- País de origen
- Idioma
- Títulos en diferentes países
- Els crims del museu de cera
- Localizaciones del rodaje
- Empresas productoras
- Ver más compañías en los créditos en IMDbPro
Taquilla
- Presupuesto
- 1.000.000 US$ (estimación)
- Recaudación en Estados Unidos y Canadá
- 23.750.000 US$
- Recaudación en todo el mundo
- 23.750.319 US$
- Duración1 hora 28 minutos
- Relación de aspecto
- 1.37 : 1
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Principal laguna de datos
What is the Japanese language plot outline for Los crímenes del museo de cera (1953)?
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