Drive-In Dust Offs: HOUSE OF WAX

Whether you’re all for 3D, or have reserved a special place in hell for those awkward glasses, it would seem that it is here to stay. Long before it turned into the latest service fee added onto the bill of your movie going experience, 3D was a fun (and new) twist for film lovers. And with House of Wax (1953), Warner Bros. created not only the first color major studio 3D film, but one of the finest horror films of the 50’s, period.

Released in April of ’53, House of Wax was a pricey venture (1 million US to produce), but one that Warner Bros. was willing to bank on after the smash 3D success of Bwana Devil (1952), an independent production. By this point, the major studios were desperate to get people back to the movies, as that new and nasty little box called television halved theatre attendance. What they achieved with House of Wax was not only a massive success (almost 24 million US including later re-releases), but a timeless ode to retribution and madness that hasn’t lost a bit of its shivery charm.

A story if you will: Behold Professor Henry Jarrod (Vincent Price), a gifted sculptor and proprietor of a semi successful wax museum in 1890’s New York. His focus (and passion) is loving recreations of great historical figures such as Cleopatra and Joan of Arc, John Wilkes Booth, and his masterpiece, Marie Antoinette. However, his business partner, Matthew Burke (Roy Roberts – Chinatown), thinks the museum would do better with more macabre exhibits. Jarrod, sensing Burke’s dissatisfaction, agrees to meet with investor Sidney Wallace (Paul Cavanaugh), who’s interested in partnering upon return from a trip overseas. Burke is looking to be bought out sooner, however, and this is where things head south. From here on out we’re dealing with: infernos, disfigurations, hangings, unrequited passions, nosy cops, smart women, new and extreme methods of ‘body waxing’, roofies, shameless 3D yo-yoing, guillotines, and Charles Bronson as a mute named Igor.

A lot of activity to fit into 90 minutes, and House of Wax doesn’t waste a second. The film has an economy to its storytelling that is beguiling to watch. No talking heads standing around describing events, this is a ‘show, don’t tell’ tale, always moving forward towards its thrilling conclusion. Peppered into the mix is a delightfully dry gallows humor, witty asides that seem anachronistic for the time and place and make the viewer feel complicit with the filmmakers – it’s all a show, an exhibit of horrors and horrific behaviour. Of course, the very thought of Jarrod’s waxing methods, post disfigurement – unable to sculpt anymore, he simply covers his victims in wax and then touches them up with help from his assistants – is delightfully ghoulish, and would be reused in several horror films through the years, most notably Tourist Trap (1979), which shares a similar sense of claustrophobia. What also sustains House of Wax is a refreshing lack of melodramatics, especially since the story is a mishmash of The Phantom of the Opera and any run of the mill gangster flick. But it’s all about the execution, and Wax displays a confidence that soars above the material. Here be there no: weak, helpless damsels, clueless constables, or mindless motives. The film has an unerring logic to it that adds to the fun.

Head Sculptor of Mayhem is Andre de Toth, director of such film noirs as Pitfall (1948) and Crime Wave (1954) . He handles the material with a sense of brutal grace, staging the action scenes with a palpable energy and the dialogue playful and sharp. In particular, there is a masterful scene of cat and mouse in the foggy streets of New York between Jarrod and our heroine, Sue Allen (Phyllis Kirk – The Twilight Zone) that displays impeccable timing and suspense. It’s a shame he didn’t do any more horror, but as a one and done statement, this is hard to beat.

The screenplay by Crane Wilbur (The Bat) is a discourse on essentials – no backstories, no love scenes to up the stakes. This is a film populated with smart characters, particularly Sue, who proves herself persistent in her claim that things are not as they seem. Wilbur leaves no space for the viewer to doubt the activities on the screen, but provides kinetic action and bon mots aplenty for the audience to take in.

The cast absolutely sells the material, underplaying where the urge to bellow to the rafters is at their fingertips. Of special note is Carolyn Jones’ daffy (and sly) performance as Cathy, Sue’s friend who never met a rich man she wouldn’t marry. Jones would later use her comedic skills to great effect as Morticia on The Addams Family TV series. Of course, the whole structure would crumble without the proper villain in place, and a legend was born with the casting of Vincent Price. A respected character actor (and he had dabbled in horror before – see The Invisible Man Returns), he was enjoying a steady run of villains when Wax came along. With Jarrod, he was allowed to show a wide range, from gentle and nurturing, to spiteful and terrifying. Even in scenes where he is unmasked (think Phantom meets oatmeal) , his pain and anger shines through the terrific makeup. A great performance, Wax rightfully launched Price into the pantheon of horror greats, forever etched in its Mount Rushmore.

Over 60 years since its debut, House of Wax continues to amaze and delight those new to its charms. Never mind about missing out on the 3D – it has nothing to do with the depth of pleasure on view. Treasure it like Andre de Toth did – in two dimensions. Yes, Warner Bros. hired a director with only one eye, but he had amazing vision.

House of Wax is currently available on a special 3D Blu-ray as well as part of TCM Classic Movie Greats Collection through Warner Bros.