The Mystery of the Wax Museum

 

(1933) Directed by Michael Curtiz; Written by Don Mullaly and Carl Erickson; Based on “The Wax Works,” by Charles Belden; Starring: Lionel Atwill, Fay Wray, Glenda Farrell, Frank McHugh, Allen Vincent and Gavin Gordon; Available on Blu-ray and DVD 

Rating: ****

“…It was kind of a beautiful feeling, because it was a wonderful gown, and it was a pleasure to just be still as possible, like a statue. And it was not eerie; it was a charming feeling...” – Fay Wray (on playing a wax statue) (archival interview from Blu-ray commentary) 

“My dear, why are you so pitifully afraid? Immortality has been the dream, the inspiration of mankind through the ages. And I am going to give you immortality!” – Ivan Igor (Lionel Atwill)

There’s something undeniably uncanny about wax figures, especially when they’re expertly done. Their mimicry of life can be so convincing that we may be prompted to wonder, “Is it a dummy or the real thing?” This premise has long fascinated and horrified filmmakers and audiences alike, toying with the idea that they might be more than they seem. Michael Curtiz’s follow-up to 1932’s Doctor X, The Mystery of the Wax Museum, was also filmed in two-strip Technicolor,* including much of the same crew as the previous movie, and once again pairing of Fay Wray with Lionel Atwill. Produced on a budget of $279,000, Curtiz, cast and crew worked extremely long hours under lighting that was five times the intensity required for black and white film stock, making the set unbearably hot. 

* Fun Fact #1: According to film preservationist Scott MacQueen, the movie was the last feature film made by Warner Brothers in the 2-color process, having fulfilled their contract with Technicolor.

Our story begins in London, circa 1921,* in Ivan Igor’s (Lionel Atwill) wax museum, where he proudly shows off his remarkably lifelike creations. To him, they’re more than just inanimate objects – he almost regards them as his children, especially the figure of Marie Antoinette (Fay Wray). As is often the case, however, art and finances don’t always mix, as evidenced by Igor’s business partner (Edwin Maxwell), who proposes the inelegant solution of torching the place to get the insurance money (apparently insurance investigators weren’t very picky in those days). Despite Igor’s ardent protests, the museum goes up in flames. Skip forward to present-day (well…uh, 1930s-era) New York City, where Igor is set to open a new wax museum. With his hands irreparably damaged from the fire, he can no longer create the figures himself, so he supervises (okay, browbeats) a team of sculptors to make his dream live again. Meanwhile, ace reporter Florence (Glenda Farrell)** is looking to get a scoop (any scoop) for New Year’s Day that will save her job from the chopping block. When she learns the city morgue is one corpse short (a young socialite who committed suicide), she begins to dig deeper into the mystery. Her investigation leads to a sneak peek at Igor’s menagerie, where something seems fishy – in particular, a Joan of Ark statue, which bears a remarkable resemblance to said socialite. Her roommate Charlotte (Fay Wray) happens to date one of Igor’s sculptors, Ralph (Allen Vincent), when a visit to his workplace catches the eye of Igor (Surprise! She’s a dead ringer for his long-lost, beloved Marie Antoinette). Charlotte innocently accepts his request to pose for him, unaware that a more sinister purpose lies in store for her. 

* Fun Fact #2: In the U.K., the caption indicating the time and place was removed, due to its association with a real fire that occurred at Madam Tussaud’s in 1925 London.

Although Fay Wray was billed above her, it’s really Glenda Farrell’s movie, as the go-getting reporter Florence,* who’s not afraid to poke her nose where it isn’t wanted. She shares an apartment with Charlotte (Wray), where we catch a glimpse of the dynamic between the two young women in a scene where they debate the relative virtues of marrying for love versus money. It’s a shame there weren’t more scenes with the two verbally sparring together, which could have been a movie in itself. Instead, we’re treated to some fun banter between Florence and her gruff editor Jim (Frank McHugh), proving she’s more than a match for any man. She’s not intimidated by a male-dominated world or being assertive when the situation demands it. As a result, it’s more than a bit disappointing when she ultimately sacrifices her career for financial security with a millionaire playboy. 

* Fun Fact #3: Farrell’s plucky character was the inspiration for ace reporter Lola “Torchy” Lane (also played by Farrell) in the 1937 movie The Adventurous Blonde, which in turn became the inspiration for Superman co-creator Jerry Siegel to create the character, Lois Lane.

Wray is charming as usual, in the role of Charlotte Duncan. As befits one of the original scream queens, there’s more than ample opportunity to exercise her lungs in a few scenes, but she’s more than just a pretty face. In contrast to Florence’s brash, take-no-prisoners approach, Charlotte is sensitive and demure, managing to look glamorous without being overbearing. Compared to her money-obsessed roommate, she’d rather spend her days with a starving artist. 

Top-billed Lionel Atwill is compelling as the tortured Ivan Igor. Atwill brings pathos to the role as a man who watched his life’s work go up in smoke and is subsequently forced to defer his craft to others, in an attempt to recreate what he lost. His motivation for revenge against his deceitful former business partner is relatable. Unfortunately, our sympathy for him goes off the rails when he resorts to body stealing and murder to achieve his ends. In his mind, it’s all for the love of his art – pesky things like morals and ethics need not apply.

Cinematographer Ray Rennahan, art director Anton Grot, and costume designer Orry-Kelly make the most of the limitations of the film stock’s predominately red/green palette,* allowing our minds to fill in the blanks for the missing colors. If anything, the two-strip process lends the movie a somewhat unworldly look, perfect for the ghoulish subject matter. Likewise, the set design adds a level of unreality to the mix, ideal for such an outlandish tale. One example is the impressive workroom, where Igor carries out his fiendish plans, with its massive steel beams bathed in green light and a giant vat of boiling wax. I can’t address the practicality of such a setup, but it’s sure great to look at. 

* Fun Fact #4: Due to the limitations of the format, photographing pure white objects/clothing was impractical. As a workaround, the filmmakers opted for off-white/beige, in place of white.

The Mystery of the Wax Museum is a contender for one of the most disturbing films from the 1930s. Seeing the wax figures* melt and collapse in the prologue is sheer nightmare fodder. Another sequence that must have made some audience members jump in their seats depicts a freshly embalmed corpse rising up with a loud sigh, giving a novice coroner the fright of his life. I can’t speak for the veracity* of the scene, but it’s undeniably creepy. A subsequent sequence when a sheet-covered body is lowered outside the morgue window prompted cries for its removal. The film fared far worse in some countries outside the U.S., with censors calling for substantial cuts or the film being banned outright. Another moment (which reportedly was too much for Fay Wray during the first take) was the big reveal of Lionel Atwill’s face makeup, by an uncredited Perc Westmore. 

* Fun Fact #5: Two to three extra heads were kept on hand for the primary wax figures, in case their heads melted under the intense lighting. 

** Fun Fact #6: According to one funeral director’s FAQs, bodies are “physically incapable” of sitting up. As far as sounds emanating from corpses, however, it’s possible for trapped air to pass through the vocal cords, creating a semblance of moaning (Sleep well, folks!).

While The Mystery of the Wax Museum wasn’t a favorite with most critics* or regional censors,** it went on to be a hit at the box office, earning a respectable $1.1 million. The theme of creepy wax figures or clay sculptures being more than they seem has been re-used, recycled, and regurgitated for more than a century. The Mystery of the Wax Museum was remade in the 1950s, in Eastmancolor and 3D, as House of Wax, starring Vincent Price in the Lionel Atwill role, and revived in the early 2000s, once again, as House of Wax (the less said about that version, the better) From Waxworks (1924), to Santo in the Wax Museum (1963), to Wax Mask (1996), one thing is for certain. We haven’t seen the last of this perpetually enduring (and blood-chilling) subject. 

* Fun Fact #7: Here’s a sampling of 1933 review quotes from the New York premiere at the Strand Theatre (Personally, I’m with the third quote):

·       “…it is an absurd and tedious film of the thriller-chiller school.” (American)

·       “…the result is too ghastly for comfort (Times)

·       “Director Michael Curtiz makes an obvious endeavor to keep audiences’ toes a-tingling. And how it succeeds!” (News)

·       “In spite of the intenseness on the macabre, it never achieves anything but a wax-like imitation of horror.” (Post) 

** Fun Fact #8: In the town of Hereford, England, the film was initially banned for being “a very objectionable film,” only to have the ban lifted a week later, although it could not be shown on Sundays.

 

Sources for this article: Blu-ray commentary by Scott MacQueen, head of preservation, UCLA Film & Television Archive; “Remembering Fay Wray” (interview with Wray’s daughter, Victoria Riskin); “New York Reviews,” The Hollywood Reporter (Feb. 21, 1933); “Hereford Film Ban,” Kinematograph Weekly (Sept. 14, 1933); “Hereford’s Second Thoughts,” Kinematograph Weekly (Sept. 21, 1933); “The Mystery of the Wax Museum,” by Scott MacQueen, American Cinematographer (April 1990)

Witchcraft Month Quick Picks and Pans

Bell, Book and Candle (1958) It’s hard not to be captivated by director Richard Quine’s whimsical adaptation of John Van Druten’s play, about Gillian Holroyd (Kim Novak), a witch who must rethink her ways after finding the man of her dreams. James Stewart (who co-starred with Novak the same year in Vertigo) plays the object of her affection, Shepherd Henderson. One of the many highlights is Elsa Lanchester’s brilliant, eccentric supporting performance, as Gillian’s meddling aunt Queenie. The strong cast also features Jack Lemmon as Gillian’s slightly-less-talented warlock brother, Ernie Kovacs as a hack writer, and Hermoine Gingold as a rival witch. 

Rating: ****. Available on Blu-ray and DVD 

 

The Witch’s Mirror (aka: El Espejo de la Bruja) (1962) After she’s poisoned by her scheming doctor husband Eduardo (Armando Calvo), Elena (Dina De Marco) returns as a vengeful spirit to torment him and his new wife Deborah (Rosita Arenas). When Deborah becomes horribly disfigured in a fire, Eduardo tries to restore her appearance, using skin grafts from cadavers. Unsurprisingly, things don’t proceed as planned. The Witch’s Mirror packs a lot of entertainment in its scant 76-minute running time, channeling an E.C. Comics-style revenge story, while drenched in gothic atmosphere.  

Rating: ***½. Available on Blu-ray (included in the Indicator Mexico Macabre box set) and DVD

 

The Devonsville Terror (1983) Director/co-writer Uli Lommel’s uneven but sporadically engaging film is set in New England but was shot in Wisconsin. In the brief prologue, circa 1683, three women accused of witchcraft in a small village are summarily tried and executed. Before the leader perishes, she vows revenge against the descendants of those who wronged them. 300 years later, three women arrive in town, where not much has changed about the residents’ attitudes toward women. One bright spot is Donald Pleasence as Dr. Warley, who contends with a centuries-old curse that causes a deadly worm infestation. While the incel-like behavior of the male townspeople is tough to watch, their gory, over-the-top comeuppance might make this worth a look. 

Rating: **½. Available on Blu-ray and DVD

 

The Witches Mountain (1973) After he rejects his ex-girlfriend’s offer for a whirlwind vacation, a photojournalist immerses himself in a new assignment to investigate a mystery in the countryside. He encounters a coven of witches residing in the mist-shrouded mountains, but their discovery could mean his doom. The Witches Mountain is distinguished primarily for having been banned by the Spanish government at the time for its supernatural subject. While the cinematography is excellent, it’s slow moving and ultimately unsatisfying. 

Rating: **½. Available on Blu-ray

 

The Witchmaker (aka: The Naked Witch) (1969) A group of college researchers travel to a Louisiana bayou to study the witchcraft practitioners in the area. Meanwhile, a warlock, Luther the Berserk (John Lodge),lurks in the shadows, searching for potential victims (he drains their blood to keep his ancient witch lover alive). The clueless students are picked off one by one. Somehow, the movie manages to squander its premise, dragging on and on, with too many talky scenes. Don’t be deceived by the lurid alternate title, which promises more than it delivers. 

Rating **. Available on Blu-ray, DVD (Out of Print), Prime Video and Tubi 

Necropolis (1986) In the film’s prologue, set in New Amsterdam, Eva (LeeAnne Baker) a powerful witch (who knew 17^th century witches had permed hair, and wore lingerie and blue eye shadow?) is hunted down and destroyed. The story jumps forward three centuries to modern-day New York, where the reincarnated witch, now sporting a New Wave hairdo runs amok in the city. A police detective and a snooping reporter combine forces to track down the ancient baddie. Writer/director Bruce Hickey’s would-be Satanic panic movie is filled with laughable dialogue, cheap sets, and mediocre makeup, but its worst offense is that it pulls its punches. Avoid this tepid mess. 

Rating: 2 stars. Available on DVD and Tubi

 

Introducing The Hammer-Amicus Blogathon V

 

Where has the time gone? It only seems like yesterday when, I, along with my superb blogging partner in crime Gill from Realweegiemidget Reviews, introduced the Hammer-Amicus Blogathon back in 2018. Believe it or not, we’re back for round five! Through this series of blogathons, we hope to keep the spirit of these iconic production companies alive (Be sure to check out Gill’s post for a special message from legendary Hammer actress Judy Matheson)! Since this is the fifth iteration of this blogathon, we decided to add a little twist. Read on for more details…

 Tales That Witness Madness

What’s the twist? Especially during the period of the ‘60s through the ‘70s, a number of Hammer/Amicus lookalikes popped up, featuring familiar actors such as Christopher Lee, Peter Cushing, Michael Ripper, as well as directors like Terence Fisher and Freddie Francis. These movies prompted many of us to do a double take – if it looks like Hammer or Amicus, it must be, right? Well, based on this premise, we decided to permit some of these “clone” productions this time around. You’re welcome to run any potential title by us, but here are just a few examples to get you started: 

·       Tigon British Film Productions – The Blood Beast Terror (1968), The Creeping Flesh (1973), The Crimson Cult (1968), The Blood on Satan’s Claw (1971)

·       Planet Film Productions – Island of Terror (1966), Night of the Big Heat (1967)

·       Tyburn Film Productions – The Ghoul (1975), Legend of the Werewolf (1975)

·       Glendale Films – The Asphyx (1972), Crucible of Terror (1971)

·       World Film Services – Tales that Witness Madness (1973)

·       Tempean Films – Blood of the Vampire (1958)

If you’ve participated in either of the past Hammer-Amicus Blogathons, welcome back. If this is your first time joining us, we’re glad to have you aboard. Either way, be sure to read our rules below, as a few items have changed (plus a new rule). Don’t have a blog, but you’d like to take part? In addition to blog posts, participants may submit a link to their Instagram or Facebook post, podcast, YouTube video, finger paintings, or whatever. As long as it’s original content and covers some facet of Hammer or Amicus productions (or one of the aforementioned look-alikes), we’ve got you covered.

Once again, it’s time for my occasional public service message, reminding you that Hammer and Amicus productions are much more than horror. In their respective catalogs, you’ll find adventures, dramas, war movies, noir, sci-fi, wacky comedies, psychological thrillers, and a mix of genres. With all those choices, there’s virtually a Hammer or Amicus movie for every mood and preference. We encourage you to peruse the titles found in the links below (we’re always happy to provide suggestions, as well).

You may find a complete list of Hammer films here. 

…and a list of Amicus films here.

What: The Hammer-Amicus Blogathon V 

Who: Hosted by Yours Truly (Barry P.) and Gill Jacob 

Where: Cinematic Catharsis and Realweegiemidget Reviews 

When: November 7-9, 2025 (plus a bonus wrap-up day) 

How: Please read the rules below, and send me your post request via email (barry_cinematic@yahoo.com), BlueSky (@barrycinematic.bsky.social), Twitter/X (@barry_cinematic), Instagram (barry_cinematic), or by commenting below. You may also contact Gill by commenting on her post, or through her blog’s Contact Me page. Be sure to include a link to your blog, your blog’s title, and your preferred name.

THE RULES… 

1.     You may review ANY Hammer or Amicus film or TV show. Hammer and Amicus-related book reviews are fine.

2.     Alternatively, you may review one of the many Hammer/Amicus look-alike productions, such as the ones mentioned above, or contact us

3.     We will not allow duplicate film titles, UNLESS you are covering a series of films or a retrospective of an actor/filmmaker’s work.

4.     A maximum of TWO entries will be permitted. (You may choose one post from Hammer and one from Amicus …or both can be Hammer or Amicus, or a combination of Hammer/Amicus look-alikes and the real deal. The choice is yours!)

5.     When responding with your choice, be sure to add your BlueSky/Twitter/Instagram/Mastodon handle or a link to your Facebook page so we can promote your post.

6.     Please choose one of the banners below to display on your blog.

7.     A full list of blogs, podcasters and review choices will be posted on a separate page and updated regularly.

8.     Only original, never-before-published posts will be accepted.

9.     Send a link to your post/podcast/video to Gill and me during one of the days of the blogathon.

10.  Note: we will publish all the links on both blogs, with daily updates on November 7, 8, and 9. If you plan to participate, but you’re running late, please let us know as soon as possible, so we can post a last-minute update.

11.  Please also note: Gill and I have already claimed the following the titles below, so they are off the table, unless they’re included in a larger retrospective (see Rule #3 above). 

Barry at Cinematic Catharsis – Hammer: The Ugly Duckling (1959) 

Gill at Realweegiemidget Reviews –Amicus: The Beast Must Die (1974)

 

 

                                

                                            

As always, we look forward to your posts!

 

Season of the Witch

 

(1973) Written and directed by George A. Romero; Starring: Jan White, Raymond Laine, Ann Muffly, Joedda McClain, Bill Thunhurst, Neil Fisher, and S. William Hinzman; Available on Blu-ray and DVD 

Rating: ***½

“The film and the character of Joan grew out of the time, I think. I mean, it just grew out of the late ‘60s/early ‘70s, when it seems as though women were wanting to break out. This is not career stuff – it’s not the glass ceiling or anything like that, it was just a woman’s role at home and a woman is less than a compete citizen of the world, of a marriage, or a relationship, and it just seems like that was happening… There was a lot in the press back then… It was women’s lib… and all the beginning rumblings of that, and I just thought it would be a good topic for a film…” – George A. Romero (from 2005 Anchor Bay interview)

After the runaway success of his independent debut feature, Night of the Living Dead (1968), fans of the film likely expected Pittsburgh-based filmmaker George A. Romero to continue in that vein. Instead, he chose to focus on character-driven dramas, starting with the fractured romance, There’s Always Vanilla (aka: The Affair) (1971), followed by his third feature, Season of the Witch.* Shot in 16 mm for a budget of only $90,000,* Season of the Witch failed to make much of an impact with audiences or critics (much like its predecessor), dying a quick death at the box office. Although it might be stretching things a bit by stating the movie has enjoyed a second wind, it’s long overdue for a much-deserved reassessment. 

* Fun Fact #1: Romero shot and directed several short documentary-style segments for another famous Pittsburgh-based production, Mister Rogers’ Neighborhood. His most noteworthy effort on the show was the 1971 segment, "Mister Rogers Gets a Tonsillectomy," which Romero joked was the scariest film he ever made. 

** Fun Fact #2: The original title of the film was Jack’s Wife, which distributor Jack H. Harris rejected. The film was subsequently edited down from 130 to 90 minutes, re-titled Hungry Wives, and marketed as a softcore movie. Years later, in an effort to cash in on Romero’s horror legacy, it was re-titled Season of the Witch. 

*** Fun Fact #3: The movie was originally budgeted at $250,000, but when the original financer went belly up, Romero was left with a fraction of that amount.

 

From the opening dream sequence (the first of several), we learn all we need to know about Joan’s relationship with her husband Jack. She walks several steps behind him, while tree branches smack her in the face. Along the way, she sees a baby on a blanket,* before catching up with her husband to provide his morning coffee. When he discovers her sitting in his car, he smacks her with a newspaper and leads her around by a leash,** before locking her in a dog kennel. Joan’s real life isn’t much better, with a husband who’s constantly gone on business trips, and a 19-year-old daughter she barely sees. When Jack is home, their bed is someplace to sleep, nothing more. Now entering middle age and stuck in a perennial malaise, she’s trapped in a domestic cage of lonely servitude. To make matters worse, she’s haunted by recurring nightmares of a menacing intruder in a mask, *** who attempts to break into her house.**** But life is about to change for Joan, in ways she could scarcely imagine…  

* Fun Fact #4: While never expressly stated in the movie, Jan White confirmed in an interview that the baby was supposed to be Joan’s son, who died during infancy. 

** Random Observation (MILD SPOILER ALERT): Compare this sequence to a scene towards the end of the movie, when Joan is led around with a red rope (which matches the color of the leash) during her witch’s initiation ceremony. 

*** Fun Fact #5: The intruder is played by Bill Hinzman (best known as the graveyard ghoul who pursues Barbra in Night of the Living Dead), who also served as Romero’s assistant cameraman. 

**** Fun Fact #6: Joan’s suburban Pittsburgh house belonged to the parents of Christine Forrest, who would eventually become Romero’s second wife.

 

Season of the Witch is at once a snapshot of the time it was made, as well as a sign of the social revolution that was about to take place in American society. Like many marriages from their generation, Joan and Jack’s relationship isn’t based in compatibility or love, but a social contract, reinforced by societal expectations. Jack fulfills the stereotypical male role of the time, boorish, laconic, and guided by thoughts rather than emotions. They don’t have dialogues, just parallel monologues. As the self-ordained breadwinner, Jack goes off on his business trips, leaving Joan to handle the household, which includes keeping an eye on their 19-year-old daughter Nikki (Joedda McClain). When Nikki unexpectedly runs off, he lashes out at Joan, slapping her because she failed to do what he considered to be her parental duty. Meanwhile, he doesn’t take any accountability for raising Nikki (the depth of his parenting advice is “You kick some ass!”). Instead of shouldering the blame for any perceived parental shortcomings, he condescendingly addresses Joan like a child who misbehaved. Both are conditioned by society to accept their stereotypical gender roles, with Joan embodying the outdated, misogynistic, hetero-centric view that the woman must dutifully sublimate her dreams and desires for the man in her life.

The soul of Season of the Witch is Jan White’s* courageous, naturalistic performance as the beleaguered housewife Joan. We see the turning point in Joan’s life in the scene where she regards her reflection in the mirror, and to her horror sees a much older, withered version of herself staring back. This nicely contrasts with another scene in which Nikki compliments her mother on her nice figure – Joan might be older, but she’s not dead. Another catalyst in Joan’s transformation arrives in the form of smug college professor Gregg (Raymond Laine), who challenges her staid notions of domestic life. Even though he’s never meant to be more than a fling, his bluntness provokes something inside her. Ultimately, it’s not a man that ignites her passions, but the siren call of witchcraft. While Season of the Witch is arguably not a movie about witchcraft, it plays a pivotal role for Joan, representing a means of asserting herself as an individual with agency over her life Whether she really evokes the supernatural isn’t important – it's her belief in herself that matters most.   

* Fun Fact #7: Jan White was initially reluctant to accept the role because it required nudity. She relented after Romero assured her that extra sex scenes were added to the script only so he could attract funding for his movie. A body double was provided for the film’s penultimate scene, when she’s initiated into a coven.

George A. Romero commented that of all his films, he would like to have done a remake of Season of the Witch, because he didn’t feel he was mature enough to tackle the subject at the time, but that seems to be selling himself short. It’s a vast topic that could never be contained in one film, but while the results are sometimes rough around the edges, Romero handles the subject matter with sensitivity and compassion. Romero focused on one particular character, Joan, and her personal struggles for autonomy and significance in a society where she was effectively a second-class citizen. Romero’s character-driven film likely baffled audiences expecting another horror flick. Instead, it was neither erotic nor horrific enough (at least from a surface glance) to please viewers expecting these elements. Instead, we were treated to a thoughtful drama with horror-adjacent elements. Rather than an outlier, Season of the Witch fits neatly in Romero’s filmography, including themes he would explore again and again: criticism of the status quo, performative religious practice, and infuriating authority figures. As much as I’d like to say Joan’s domestic prison is a relic of the past, this attitude has somehow managed to persist in modern society like a virus that refuses to die. Unfortunately, due to lazy marketing, the film failed to connect with audiences. As a title, Jack’s Wife was perhaps too generic to capture anyone’s attention, while Hungry Wives was simply misleading. Season of the Witch was probably the best title, since it wasn’t entirely inaccurate, but whatever you care to call the film, it’s a significant achievement in Romero’s filmography. 

* Fun Fact #8: According to film writer Travis Crawford, this was the first of Romero’s movies to feature a tracking shot (in the scene where Joan shops for tools of the witch’s trade). 

 

Sources for this article: “Digging up the Dead: The ‘Lost’ films of George A. Romero,” interview with George A. Romero (Anchor Bay, 2005); “The Secret Life of Jack’s Wife,” interview with Jan White; Arrow Blu-ray commentary by Travis Crawford; “This ‘Mister Rogers' Neighborhood’ Segment Was Directed by a Horror Icon,” by Andrew McGowan, Collider (June 30, 2023); “George Romero on Zombies & Season of the Witch Remake?” by Ammon Gilbert, JoBlo (2010)

 

 

Animated August Quick Picks and Pans

 

Harvie Krumpet (2003) Writer/director Adam Elliot’s stop-motion-animated short film introduces us to the bittersweet world of Harvie Krumpet, a Polish immigrant with Tourette’s Syndrome living in Australia (Geoffrey Rush provides the droll narration). Like many of Elliot’s other films, it’s a celebration of the outsider and their uniquely skewed perspective. Despite his struggles connecting with others, Harvie manages to carve his own niche in society. This brief but affecting portrait pushes all the right buttons, and is well worth a look (or two or three). 

Rating: ****. Available on Blu-ray (included in The Adam Elliot Collection), DVD, Kanopy and Tubi

 

 

The Tune (1992) Bill Plympton’s musical film celebrates the creative process as it intersects and clashes with commercialism. When he experiences the songwriter’s version of writer’s block, Del journeys to the musical town of Flooby Nooby to find inspiration and learn to sing from the heart. Plympton’s unique hand-drawn animation, takes the viewer in unexpected directions, with byzantine gags that build on each other. Will Del find his inspiration in time to please his demanding boss, and win the woman of his dreams? Watch and find out. 

Rating: ****. Available on Blu-ray, DVD and Tubi 

Blood Tea and Red String (2006) Christiane Cegavske’s exquisitely detailed stop-motion-animated film plays like a waking dream, skirting the barriers of consciousness. A group of birdlike people clash with mice over a life-size doll, while a frog shaman works his special brand of conjuring. Blood Tea and Red String uses fairy tale tropes to tell its unique story about infatuation, greed and togetherness.   

Rating: ***½. Available on

Phantom Boy (2015) Alex, an 11-year-old boy undergoing chemotherapy, becomes an unlikely partner for an injured police detective when he discovers the ability to leave his body. When a super criminal vows to take control of New York City, Alex scours the streets for clues that might break the case. Jean-Loup Felicioli and Alain Gagnol’s French-animated feature is about summoning your inner strength, even when you feel powerless. 

Rating: ***½. Available on Blu-ray, DVD and Kanopy

 

The Murder Case of Hana and Alice (2015) After her parents’ divorce, Tetsuko Arisugawa (“Alice”) moves to a small town with her mother. As the new kid at her middle school, she arrives to a mystery, under the watchful eye of a shut-in former student, Hana. Shunji Iwai’s gentle tale of friendship separates myth from reality, as Alice contends with bullying classmates and reticent locals to learn the truth about a classmate’s alleged death.   

Rating: ***½. Available on Blu-ray, DVD and Tubi 

Bubble Bath (aka: Habfürdö) (1980) In this fun, if slight, Hungarian musical oddity, Zsolt gets cold feet over his impending marriage to Klára, taking refuge in his friend Anna’s apartment. Complications ensue when Klára pays Anna a visit, and memories and feelings are brought to the surface. Will Zsolt marry the capricious Klára or run off with amiable Anna? Looking a bit like a lost sequel to Yellow Submarine, Bubble Bath features silly songs and hallucinogenic animation that makes me wonder what kind of substances they were smuggling behind the Iron Curtain during that time.   

Rating: ***. Available on Blu-ray and Tubi

Felidae

(1994) Directed by Michael Schaack; Written by Martin Kluger and Akif Pirinçci; Based on the novel by Akif Pirinçci; Starring: Ulrich Tukur, Mario Adorf, Helge Schneider, Wolfgang Hess, Gerhard Garbers and Klaus Maria Brandauer; Available on Blu ray and DVD 

Rating: ****

“…the book gives you the answer, because it’s a dark mystery story, and of course we didn’t want to make a film like Aristocats, because Aristocats is great and fine, but this must be something different. And with our abilities and budget, we couldn’t compete with the big-budget movies, and so we are forced to be different, and if you’re different in style, this must have been our way, and all the artists were fascinated and loved to do this.” – Michael Schaack (excerpted from 2023 interview by Dennis Bartok)

In the United States, animation is unjustly regarded by many as a children’s medium. While dark themes certainly abound in Disney’s classic films (think Snow White and the Seven Dwarfs, Bambi, or Pinocchio), it’s always been clear whom the intended audience is. Meanwhile some independent American animators (Ralph Bakshi, Bill Plympton, etc…) have reinforced their more adult visions on the unsuspecting public. Although animators in Europe and Japan have also created fare suitable for all ages, it seems to be common knowledge there are many stories to tell that aren’t particularly family friendly. Falling into that latter category is Michael Schaack’s Felidae* (based on a novel by Akif Pirinçci). The most expensive German animated feature to date, at 15 DM ($9 million), may have seemed a drop in the inkwell for Disney, but a monumental undertaking for Senator films. Under Schaack’s direction, the collaborative effort employed 150 animators in Hamburg, Germany, Toronto, Canada, and Dublin, Ireland. 

* Fun Fact: #1 Despite the fact that an English dub was recorded for the film, Felidae never received an official release in the United States.

In the cat-centered world of Felidae, the feline characters exist in their own realm, parallel to but separate from the human world. The cats of Felidae refer to humans as “can openers,” which tells you all you need to know about how we rate with our companions (I think most fellow cat owners would back me up). Our protagonist, Francis, arrives in a new town with his layabout human companion Gustav, but unlike his sedentary two-legged friend, he roams the neighborhood as an amateur sleuth (like a feline Philip Marlowe). He befriends Bluebeard, a grizzled old cat missing an eye and a stump for a tail, who turns him on to a grisly mystery. Several cats have turned up dead, with their bodies horribly mutilated. He stumbles upon a cult dedicated to the martyr Claudandus (victim of experimentation by human scientists Preterius and Ziebald), led by the zealot Joker, who uses old lab equipment to shock his loyal followers. Haunted by the mystery of Claudandus and the ever-increasing cat deaths, he crosses paths with an assortment of friends, foes, and everything in-between, including the blind Felicity, ambivalent Kong, and enigmatic Pascal, who’s somehow linked to all the strange goings-on. As he gets closer to the sinister truth, he unravels a twisted web of sex, deception, and murder.

Michael Schaack created a library of moving cats as a guide, so the characters in the film moved like real cats (not “cartoony”). Indeed, their movement looks so fluid, one might easily confuse the film for something from Don Bluth or Disney (adult content aside). Of course, Felidae goes in a much darker direction* than either of those studios would dare. The animators also took pains to give each of the primary players distinct appearances and personalities, as befitting a mystery filled with a colorful cast of characters. The few humans depicted in the film occupy the background, while low and high-angle shots simulate the cats’ perspectives. Felidae also features an excellent score by Anne Dudley (one of the principal members of the ‘80s pop group, The Art of Noise), which contributes greatly to the films 

* Fun Fact #2: According to Schaack, the visual style was influenced by classic horror movies, particularly those from Universal.

At its heart Felidae is a noir-tinged detective story (“Cat Noir”?), filled with labyrinthine twists and turns, red herrings a-plenty, and a femme fatale. The rest might be a hard sell for some. Even those accustomed to more adult subject matter might be taken aback by the graphic depictions of feline sex, torture, vivisection and eviscerated cat corpses – all in service to the story, but it may give some viewers pause. It’s not a big surprise that Felidae underperformed at the box office in its native Germany – audiences looking for a cute escapist movie about cats likely weren’t prepared for its themes of animal experimentation and eugenics. While the film has enjoyed a second wind with an ardent cult following, the recent controversy from author Pirinçci* probably only hastened its descent into relative obscurity. Thanks to the good folks at distributor Deaf Crocodile, Felidae may yet receive its due (just a year or two ago, I never thought I’d have a UHD Blu-ray in my eager hands, but here we are), with its stunning restoration.** Superficially, it begs comparison with Watership Down (1978) or The Plague Dogs (1982), but unlike those relentlessly grim films Felidae softens the blows with a keen sense of humor (thanks to Francis’ droll observations). If you can stomach some of the more sordid aspects, it rewards upon repeat viewing, with its timeless story, relevant themes, and affable characters. 

* Not-So-Fun Fact: Despite the story’s dark themes, not-so-subtly evoking the atrocities of Nazi Germany, Akif Pirinçci irreparably undermined his career, speaking out at a 2015 far-right assembly in Dresden, with xenophobic and Islamophobic statements. 

** Fun Fact #3: According to Deaf Crocodile’s Dennis Bartok, the 4K scan of the 30-year-old original negative couldn’t have come at a better time, since it was showing signs of wear and tear, including the dreaded “vinegar syndrome.” 

 

Sources for this article: Interview with director Michael Schaack (by Dennis Bartok of Deaf Crocodile); “Teuton Fine-Tooning,” by David Molner, Variety (December 4, 1994);