Showing posts with label Classics. Show all posts
Showing posts with label Classics. Show all posts

Wednesday, December 10, 2025

South

 

South Poster

(1919) Directed by Frank Hurley; Starring: Ernest Shackleton, Frank Worsley, J. Stenhouse, Leonard D.A. Hussey, James McIlroy; Available on Blu-ray and DVD 

Rating: **** 

The Endurance Trapped in Polar Ice

“We have been compelled to abandon the ship, which is crushed beyond all hope of ever being righted, we are alive and well, and we have stores and equipment for the task that lies before us. The task is to reach land with all the members of the Expedition. It is hard to write what I feel.” – Ernest Shackleton (excerpted from Shackleton’s journal) 

As one of the last (mostly) unspoiled frontiers on Earth, Antarctica remains an icy enigma, too remote and inhospitable for permanent residence, yet oddly irresistible for those intrepid enough to test their mettle against the elements. South (1919) chronicling the travails of Sir Ernest Henry Shackleton and his crew, is as close as many of us might care to get to the South Pole. This was Shackleton’s third attempt to conquer Antarctica (his previous unsuccessful attempts were in 1907 and 1909). When Norwegian explorer Roald Amundsen and his team reached the South Pole in December 1911, they raised the bar for Shackleton, for what would be the most ambitious expedition to date – an overland crossing of the Antarctic continent.* The 28-man crew** of the Endurance*** set out for Antarctica from Buenos Aires, Argentina in October1914. Although they never reached the continent, stopping just shy of their initial goal, what followed was a testament to Shackleton’s leadership and his crew’s fortitude. Thankfully for the rest of the world, Australian photographer Frank Hurley was there to capture the voyage for posterity, through motion picture footage and stills.*** 

* Fun Fact #1: Described by Shackleton as “the last great polar journey that can be made,” he intended to start in Vahsel Bay and after a hike across the continent, end at the Ross Sea. 

** Fun Fact #2: The 28th crewmember was a young Welsh stowaway, Percy “Perce” Blackborow, who had been rejected due to inexperience. When he was discovered three days into the voyage, Shackleton angrily confronted him, stating “On missions like this, stowaways were the first to get eaten.” 

*** Fun Fact #3: Built in Norway in 1912 and originally named Polaris, the ship was purchased by Shackleton for £14,000 and re-named Endurance. 

**** Fun Fact #4: The world almost missed the opportunity to see photographic evidence of Shackleton’s voyage. When the order was given to abandon ship, Frank Hurley was forced to leave all his photographic plates behind. He later returned to the Endurance, wading through icy waters and broken timbers inside the doomed ship to retrieve his photographic plates. Because of their considerable bulk, he could only take 120 of the 550 recovered plates, while the others were destroyed. 

Ernest Shackleton

Long before the immersive experiences of IMAX movies or state-of-the-art theme park attractions, South was the next best thing to exploring the seventh continent first-hand.  From scenes depicting the crew awkwardly setting up a tent atop an ice floe, to retrieving biological specimens from the frigid waters without gloves, you can practically feel the bitter cold permeating every image. Perhaps the most haunting imagery involved still photos of the Endurance, trapped in the ice for 11 months, before succumbing to the elements and sinking into the Weddell Sea.* Seeing the once proud ship becoming one with the landscape is surreal and painterly. 

* Fun Fact #5: In 2022, the wreck of the Endurance was located at a depth of 10,000 feet (3 kilometers), remarkably intact. 

The Endurance Trapped in Ice, With Sled Dogs in the Foreground

The crew’s struggle for survival under the harshest possible conditions, often required desperate measures. To supplement their dwindling food supplies, the crew’s diet included seals and penguins.* With the exception of frozen strips of seal meat being harvested, the audience is spared most of the gory details. One of the biggest omissions was an explanation why the expedition’s 69 sled dogs disappeared about two-thirds of the way in. Considering the film was intended for a broad audience, it was probably the most sensible decision, if not the most truthful.** 

* Fun Fact #6: At least one crew member, Thomas McLeod, refused to eat penguins, due to an old mariner’s superstition that the birds’ bodies contained the souls of dead fishermen.   

** Not-So-Fun-Fact: With food running out and no viable way to support the dogs, the expedition leaders made the difficult decision to have them shot and subsequently eaten (Sorry, fellow animal lovers).

The Endurance Trapped in Ice

Without their ship or a means of communicating to the outside world, the crew were left stranded on Elephant Island. How Shackleton’s crew were rescued was an ordeal that could have merited its own documentary.* Shackleton, along with five crew members, made the arduous 800-mile journey in the 22-foot lifeboat, “James Caird,” from Elephant Island to South Georgia Island to seek help, braving tremendous storms, immense waves, and continual ice build-up (which someone had to break up by hand, while sitting on the edge of the boat). Once they arrived on its shores, Shackleton and a couple of his more able-bodied men made a 36-hour trek over miles of uncharted mountainous terrain to reach the whaling village of Stromness. In August 1916, help finally arrived on Elephant Island, with Shackleton on the Chilean navy ship Yelcho. 

* Fun Fact #7: Because Hurley did not accompany Shackleton on the trek to South Georgia, all footage of the island was filmed after the fact, in 1917.

Seals on South Georgia Island

Although we’re introduced to the names of many of the crew members, we never get more than a cursory description. The only exception was meteorologist L. Hussey, who entertained the crew with his banjo (described as the ship’s “vital mental tonic”). South focuses on the romance of adventure, rather than many of the nasty bits in-between. After describing Shackleton’s adventure on South Georgia Island, the film spends a little too much time (filmed after the fact) depicting the wildlife that managed to thrive there. With most modern viewers already accustomed to decades of nature documentaries (Thanks, Marlin Perkins and David Attenborough!), it’s important to remember that the world was a much more mysterious place in the early 20th century, and South afforded audiences the opportunity to see animals they had never seen before. As imperfect as South may be, we’re fortunate to have this window into another time and place. It’s almost miraculous that the entire crew survived their ordeal under tremendous hardship and South remains a tribute to human persistence and resilience in the face of adversity, serving as a reminder that there are still some places left on Earth we haven’t managed to conquer. 

 

Sources for this article: Blu-ray commentary by film historian Luke McKernan, “Endurance: Shackleton’s Lost Ship is Found inAntarctic,” by Jonathan Amos, BBC (March 8, 2022); “Endurance: The Newport Stowaway on Shackleton Shipwreck,” by Neil Prior, BBC (February 26, 2022); “Shackleton’s Endurance,” Falklands Heritage Maritime Trust (website) 

 

 

Monday, December 1, 2025

November Quick Picks and Pans

 

The Bigamist Poster

The Bigamist (1953) Ida Lupino directs and co-stars in this unusual drama about a man with two wives. By all appearances, Harry Graham (Edmon O’Brien) has it all, with his loving wife Eve (Joan Fontaine), a good job, and a pending adoption to make their life complete, but as we soon learn, he’s been keeping a big secret from her. When an official (Edmund Gwenn) from the adoption agency suspects something’s not on the up and up with Harry, he makes a shocking discovery. Not only is he leading a separate life with Phyllis Martin (Ida Lupino) in another city, but they’re married and have an infant child. The film takes a surprisingly even-handed approach, depicting the lurid subject matter with sensitivity and intelligence. It doesn’t paint Harry as a villain, nor does it depict the two women as adversaries, once they learn his secret. 

Rating: ***½. Available on DVD, and Prime Video

 

The Amazing Mr. X Poster

The Amazing Mr. X (1948) Turhan Bey stars as the fake medium Alexis, who claims to possess the ability to converse with the dead. He targets wealthy widow Christine Faber (Lynn Bari) and her impressionable younger sister, Janet (Cathy O’Donnell). Richard Carlson plays Christine’s fiancĂ© Martin, who throws a monkey wrench into Alexis’ plans when he hires a private investigator to debunk the con artist. John Alton’s moody, atmospheric cinematography, elevates the film to a whole other level, and Bey is effective as the charismatic charlatan Alexis.    

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

The Locket Poster

The Locket (1946) Dr. Harry Blair (Brian Aherne) crashes a wedding to warn John Willis (Gene Raymond) about the woman he’s about to marry. Thus begins a flashback within a flashback within a flashback, which traces Nancy’s (Laraine Day) sordid past. One of the flashbacks features Robert Mitchum as Norman Clyde, her original suitor, who falls into her web of lies and deception. As the film digs deeper into Nancy’s history, we learn how a seemingly perfect young woman harbors a kleptomaniacal streak, which could be traced to a childhood incident. As each layer is revealed, another facet of Nancy and her dysfunctional relationship with men comes to light.   

Rating: ***½. Available on DVD and HBO Max

In My Skin Poster

In My Skin (2002) After Esther (played by Marina de Van, who also wrote and directed) suffers a nasty leg injury, she begins a dangerous obsession, inflicting new cuts to her skin. As the compulsion and cuts get deeper, she gradually alienates her exasperated boyfriend and co-workers. While Marina de Van deserves kudos for her bold, unflinching performance as a woman overcome by her unstoppable impulse for self-destruction, perhaps she wore one hat too many. The film escalates as Esther follows her horrific trajectory, but without a distinct third act, it just fizzles out in the end, with no solid conclusion. The makeup effects are appropriately stomach-turning, but they do service to an underbaked story which never manages to rise above obtuse social commentary. 

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

 

 

Friday, October 31, 2025

Classic Horror Month Quick Picks and Pans

The Demon Barber of Fleet Street Poster

The Demon Barber of Fleet Street (1936) Tod Slaughter stars as Sweeney Todd, the legendary 19th century barber who enjoyed giving his customers a really close shave. Beside the requisite morbid themes, the film is surprisingly funny thanks to Slaughter’s spirited portrayal. Rather than being depicted as a tortured soul with a tragic past, he enjoys his work. Slaughter (Could there be a better name for a horror actor?) seems to relish every minute as the infamous serial killer, gleefully talking about “polishing off” his clients, with a twinkle in his eye. Not to be missed.

Rating: ****. Available on Blu-ray (included in The Criminal Acts of Tod Slaughter box set) and DVD 

Diary of a Madman Poster

Diary of a Madman (1963) Based on the stories of Guy de Maupassant, Diary of a Madman is told in flashback, tracing the events leading up to the death of Magistrate Simon Cordier (Vincent Price). Price is excellent as the tormented Cordier, who has the misfortune of crossing paths with a Horla, an invisible, malevolent being. Much like the condemned criminal he sentenced to death, he’s compelled to murder against his will. Can anything or anyone stop the bloodthirsty Horla? Tune in and find out. 

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

Horrors of the Black Museum Poster

Horrors of the Black Museum (1959) Michael Gough stars as Edmond Bancroft, a true-crime author who delights in staying one step ahead of Scotland Yard. He keeps a secret museum devoted to torture and killing in his basement. Meanwhile, he directs his obedient assistant to carry out his dirty work. One of the dubious pleasures of this movie is wondering what creative death awaits his next victim. Warning: You may not want to use binoculars again after watching this. 

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

The White Reindeer Poster

The White Reindeer (1952) In this supernatural tale from Finland, by director/co-writer Erik Blomberg, the beautiful witch Pirita (Mirjami Kuosmanen) marries handsome reindeer herder Aslak (Kalervo Nissilä). The nature of his work calls him away from home more than she’d prefer, so the restless witch casts a spell that makes her irresistible to herdsmen (including her husband). She transforms into a white reindeer, roaming the snowy countryside, killing men that are attracted to her. The stark white Lapland landscape not only serves as a backdrop for the story, but takes on a role as its own unique character. 

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

 

The Screaming Skull Poster

The Screaming Skull (1958) Widower Eric Whitlock (John Hudson), whose former wife died under mysterious circumstances, marries Jenni (Peggy Webber) an emotionally fragile (and wealthy) woman. Soon after they move into his deceased wife’s home, Jenni begins to see and hear strange occurrences, leading her to believe the dead wife has come back to haunt her. Only Mickey (Alex Nicol), the childlike, reclusive gardener, seems to know what’s going on. The plot and gaslighting theme are nothing new, but the performances are quite good, and it has its fun little creepy moments. 

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

 

Supernatural Poster

Supernatural (1933) A convicted serial killer, Ruth Rogan (Vivienne Osborne) is executed, but before her sentence is carried out, a psychologist (H.B. Warner) seeks her consent to use her body for an experiment. While a fake spiritualist (Alan Dinehart) tries to con Roma, a young woman (Carole Lombard) who’s inherited a fortune from her deceased brother, the killer’s consciousness enters her mind. The possessed Roma promptly sets out for revenge against the spiritualist, who’s also Ruth’s former lover. Supernatural packs a lot in its brief 61-minute running time, although it falls a bit short on chills or logic (why Rogan arbitrarily decides to leave Roma’s body is beyond me). 

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

The Frozen Dead Poster

The Frozen Dead (1966) Those pesky Nazis are at it again, determined to take over the world. But first, Nazi scientist Dr. Norberg (Dana Andrews), now living in England, must find a way to revive a group of select officers who were frozen after World War II. He can reanimate the bodies, but somehow can’t adequately revive their brains. The solution comes in the form of his niece Jean (Anna Palk), who unexpectedly arrives home with her American friend Elsa (Kathleen Breck). His ruthless assistant Lubeck (Karel Stepanek) abducts and kills Elsa, providing an unprecedented opportunity to study her disembodied head and brain in action. The head, however, has other ideas, exerting psychic control over Jean and a wall of severed arms. The whole thing plays like a slightly more competent version of The Brain that Wouldn’t Die (1962), but it’s not without its relative merits, providing some low-key, low-budget thrills. 

Rating: ***. Available on DVD 

 

From Hell It Came Poster

From Hell It Came (1957) American doctors visit an unspecified South Pacific island nation, where they encounter mostly hostile (and generic) villagers. Things get even worse when a wrongfully executed native is reincarnated as a murderous tree monster known as Tabonga, who embarks on an indiscriminate rampage. Expect lots of scenes with the condescending doctors espousing the virtues of Western society over the “primitive” and “ignorant” natives (who speak pidgin English). The “star” of the show, however, is the slow-moving and barely ambulatory Tabonga. It’s hard not to be amused by the goofy yet endearing tree monster, which seems to have more trouble remaining upright than causing mayhem. 

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



Sunday, October 26, 2025

The Raven

 

The Raven 1935 Poster

(1935) Directed by Lew Landers; Written by David Boehm; Based on the poem, “The Raven,” by Edgar Allan Poe; Starring: Boris Karloff, Bela Lugosi, Jeffrey Matthews, Irene Ware, and Samuel S. Hinds; Available on Blu-ray (included in The Universal Horror Collection, Volume 1) and DVD 

Rating: ***½ 

This review is part of the Secret Places and Trippy Houses Blogathon, hosted by Rebecca Deniston from Taking Up Room. Many thanks to Rebecca for making this event a reality! The following review illustrates that wherever Bela Lugosi and Boris Karloff go, dark, hidden laboratories follow…

Dr. Vollin Recites "The Raven"

“Death is my talisman, Mr. Chapman. The one indestructible force, the one certain thing in an uncertain universe. Death!” – Dr. Richard Volling (Bela Lugosi)

“You can’t make people believe in you if you’re playing a horror part with your tongue in your cheek. The screen magnifies everything, even the way you are thinking. If you are not serious, people will sense it. No matter how hokum or highly melodramatic the horror part may be, you must believe in it while you are playing it.” – Bela Lugosi (excerpt from New York Times Interview)

It’s good to have a hobby. Some folks like stamp collecting, needlepoint, or model trains.  Dr. Richard Vollin (Bela Lugosi), on the other hand, an ardent Edgar Allan Poe enthusiast, constructs a secret torture chamber based on his favorite author’s works. Following their exceptional performances in The Black Cat (1934), Lugosi and Karloff paired up again in The Raven, a twisted tale of sadism, infatuation and obsession. Although Karloff received top billing* this was clearly Lugosi’s film as the maniacal Dr. Vollin. Under the brisk direction of Lew Landers (aka: Louis Friedlander) and a script by David Boehm,** The Raven was produced on a budget of $109,750 (which eventually grew to $115,209.01). 

* Fun Fact #1: Despite Lugosi dominating the film, as well as the screen time, he only enjoyed second billing, under Karloff (both are billed with their last names, only). He took home $5,000 for five weeks’ work, compared to Karloff’s $10,000 for four weeks’ work.   

** Fun Fact #2: Although Boehm received sole writing credit, the script passed through several hands before it reached him, starting with Guy Endore (Mark of the Vampire). The script subsequently received new iterations from Clarence Marks, Michael Simmons, Jim Tully, and John Lynch. Following his predecessors, Boehm created three complete versions of the script, including some last-minute touch-ups on the final version by Dore Schary.

Jean Thatcher and Dr. Vollin

The movie begins with our heroine, Jean Thatcher (Irene Ware) driving a treacherous winding road in the middle of a stormy night. She loses control of her vehicle, skidding over an embankment. Jean is rushed to hospital, where she lies in a comatose state with nerve damage to her neck, hovering precipitously between life and death. When help is beyond the capabilities of the resident doctors, her father, Judge Thatcher (Samuel S. Hinds), persuades retired surgeon Dr. Vollin to come out of retirement, arguing he’s the best and only hope to save his daughter’s life. Ego appropriately massaged, Vollin agrees. She makes a rapid recovery, but in Vollin’s mind, her obligation to him goes far beyond her father’s gratitude. There’s only one wrinkle – she’s engaged to be married to Vollin’s younger colleague, Dr. Jerry Halden (Lester Matthews), but this obstacle is purely academic to the elder surgeon, who’s becomes entranced by her. When Judge Thatcher senses his infatuation with Jean, he naĂŻvely tries to make him see reason “You don’t want a young girl like Jean falling in love with you.” (Yeah, right.). But Vollin, incapable of taking no for an answer, plots his next move.* Every evil mastermind needs his lackey, and Dr. Vollin finds one in the form of escaped convict Edmond Bateman (Boris Karloff), a man with a propensity towards violence. When Bateman bursts into Vollin’s house, demanding to have his face changed, he gets his wish, but not the way he intended. Vollin severs several nerves, rendering half of his face withered and droopy, including one dead, unblinking eye.**Vollin presents Bateman with a proposition: if he wants his face fixed, he must carry out the doctor’s bidding. Thus begins Vollin’s warped scheme of revenge, which will subject Judge Thatcher, Jean, and her fiancĂ© to the tortures awaiting them in his hidden basement dungeon.*** 

* Fun Fact #4: Consider another movie from 1935, Mad Love, released just a month later, also about infatuation gone toxic. Despite similar themes and a standout performance by Peter Lorre, the arguably superior film from rival studio MGM wasn’t a hit at the time. 

** Fun Fact #3: Considering the fact that makeup pioneer Jack P. Pierce created Karloff’s makeup, the eye (made of bees’ wax and cellophane) looks rather unconvincing. In Pierce’s defense, an earlier version of the makeup used a glass eye, but because it reportedly horrified studio censors, he opted for the makeup used in the film. 

*** Fun Fact #5: Vollin’s dungeon was a recycled, repurposed set originally used in Bride of Frankenstein (1934).

Dr. Vollin Tortures Judge Thatcher

It’s easy to tell Lugosi is having a blast as the deranged Dr. Vollin, who has an unnatural obsession with the works of Poe that goes far beyond a complete library of first editions. In a hidden basement, away from prying eyes, he’s re-created some of the torture devices described by Poe, including a pendulum and a room with moving walls to crush his victims. The self-aggrandizing Vollin views himself as something more than human. After he entertains his adoring patient Jean with haunting music from his pipe organ,* she refers to him as a god. He quickly corrects her: “A god with the taint of human emotions.” When his advances are spurned, he switches into revenge mode, as if he had been waiting for an excuse (any excuse) to try out his torture devices. Judge Thatcher is shackled to a platform, where a swinging bladed pendulum looms every closer. When the judge makes an appeal for sanity, Vollin replies, “I am the sanest man who ever lived! But I will not be tortured! I tear torture out of myself by torturing you!” But Vollin reserves a more Poe-etic death for Jean, when he has her thrown into the crushing chamber with her husband (“You will never be separated, never.”). 

* Fun Fact #6: In addition to featuring Toccata and Fugue in D minor (Bach’s go-to classical piece for villains everywhere) in The Raven, the composition was played by Boris Karloff’s character Hjalmar Poelzig in The Black Cat (1934).  

Edmond Bateman's New Face

Karloff does a fine job in a supporting role, as Edmond Bateman, managing to find the humanity in a character who has done horrible things. When his ruined face is first revealed, Dr. Vollin sadistically reveals a wall of full-length mirrors, which Bateman proceeds to shoot out. Vollin’s cruel laughter is offset by Bateman’s growls of frustration and rage, reminiscent of Karloff’s role as Frankenstein’s monster. Besides being the victim of Vollin’s cruel torment, Bateman evokes sympathy for his disfigurement, when the initially shocked Jean apologizes to him for being scared. It is this moment of kindness that will eventually redeem Bateman, and will be Vollin’s undoing. 

Edmond Bateman and Dr. Vollin

Much ado has been made about the supposed rivalry between horror titans Boris Karloff and Bela Lugosi (perpetuated by the fun but factually dubious Ed Wood (1994) and its primary source, Nightmare of Ecstasy, by Rudolph Grey). While there may be a kernel of truth about Lugosi’s resentment, there’s no concrete evidence there was any outward animosity between the two actors. In their several collaborations, Karloff always received top billing, as well as the higher salary, but ultimately both enjoyed their craft, displaying a strong sense of professionalism.

Dr. Vollin Forces Jean and Dr. Halden into Crushing Chamber

Despite several concessions to restrictions mandated by the Production Code,* the finished movie didn’t go over well with critics of the time, who lambasted it for its sadistic themes. The required nips and tucks to the film also didn’t prevent it from being the object of scorn from regional censors, who each took a crack at it (The Raven was banned outright in China, the Netherlands, and in Ontario, Canada). Proving no publicity was bad publicity, however, The Raven was a hit at the box office, and time has vindicated the movie as an example of two horror greats in top form. It’s best not to dwell on the film’s logic (or lack thereof), or the logistics of Vollin constructing an elaborate underground torture chamber underneath his house (Did he hire contractors or did he carry out the construction himself? If he did hire contractors, which seems the most likely option, how did he get them to maintain their silence? So many questions, so few answers.). If you’re anything like me, you’ll stop worrying about what does or doesn’t make sense, and just run with it. The Raven had the unfortunate luck to follow Karloff and Lugosi’s greatest paring, just a year before, in The Black Cat (1934), which has always overshadowed the actors’ subsequent efforts. But even if it’s considered a somewhat “lesser” effort you’re bound to have a devilishly good time. 

* Fun Fact #7: The British Board of Censors were so incensed by The Raven that they refused to evaluate any further horror films… resulting in Hollywood temporarily halting production of horror movies. 

 

Sources for this article: DVD commentary by Steve Haberman; “A Good Game: Karloff and Lugosi at Universal, Part Two”; Karloff and Lugosi – The Story of a Haunting Collaboration, by Gregory William Mank

 

 

Tuesday, October 7, 2025

The Mystery of the Wax Museum

 

Mystery of the Wax Museum Poster

(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: ****

Wax Museum - Marie Antoinette

“…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.

Melting Wax Figure

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.

Florence and the Newspaper Editor

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.

Charlotte and Florence

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. 

Ivan Igor and Ralph

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.

Down in the Workroom

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.

Ivan Igor's True Appearance

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!).

Charlotte Screams When Seeing Igor's Face

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)



Saturday, May 3, 2025

The Adventure-a-Thon is Here – Day 2 Recap

 

Adventure-a-Thon Banner - Prey

We’re back with Day 2 of the Adventure-a-Thon, hosted by Yours Truly and Gill from Realweegiemidget Reviews. We have more wonderful posts in store for you today, but first, a quick reminder, in case you missed it… 

The African Queen

Contest Reminder: As an added “thank you” to those who have contributed posts to the Adventure-a-Thon, I will be hosting a contest in which one lucky blogathon participant will be randomly selected to win a brand-new, all-region Blu-ray copy of the Ray Harryhausen’s timeless adventure classic, The Seventh Voyage of Sinbad (1957). Please read the following contest rules, if you would like to be considered for the giveaway: 

1.     Please email me if you wish to be considered, at: barry_cinematic@yahoo.com, with the following info:

·       Your Name, Blog Name

·       Your answer to the following question: “What’s your favorite Ray Harryhausen movie?” Note: Although an answer is required for eligibility purposes, stating a Harryhausen title different from The Seventh Voyage of Sinbad will not increase or decrease your chances of winning. Responses will be compiled and posted when the winner is announced during Monday’s wrap-up post.

2.     Eligibility is limited to blogathon participants only (you must have submitted a blog post to win).

3.     Sorry, the contest is only open to blogathon participants in the U.S.A, Canada, and Mexico.

4.     Good luck!

Conan the Destroyer

If you’ve signed up, but your post isn’t quite ready, fear not. We’ll post your link on Day Three or the bonus-day “Wrap-up.” Post a comment below, email me at barry_cinematic@yahoo.com, or reach me on BlueSky (@barrycinematic.bsky.social), Instagram (@barry_cinematic), or Twitter/X (@barry_cinematic). You may also contact Gill by commenting on her post, through her blog’s Contact Me page, or on Bluesky (@realweegiemidge.bsky.social).

Jaws

Here are Day 2’s submissions below, and in case you’ve missed yesterday’s post, you can catch up on Day 1 here.

Conquest Poster

Is Lucio Fulci and sword & sorcery a match made in heaven? John Williams from Film Hydra tells us what he thinks of Conquest (1983). 

Dante's Inferno Poster

LĂŞ from CrĂ­tica RetrĂ´ takes us on a trip to the netherworld, for her review of Inferno (aka: Dante’s Inferno) (1911). 

 

Stardust

Craig from What the Craggus Saw returns to dazzle us with his review of Stardust (2007).

Edge of Tomorrow Poster

You can read Ryan Ritter’s (at Crittical Analysis) take on Edge of Tomorrow (2014) today. 

 

The Navigator Poster

Travel through time with Scampy from Spirochaetetrail, as we follow The Navigator:A Medieval Odyssey (1988). 

 

The Sword of Sherwood Forest Poster

Emma from Nitrate Glow looks at Robin Hood, Hammer style, in The Sword ofSherwood Forest (1960). 


The Lost City of Z

David Ferguson of Movies Reviews from the Dark finds The Lost City of Z (2016). 

  

See you tomorrow…