Andre de Toth | Scott's Film Reviews-1,425 + Reviews posted so far!!!

House of Wax-1953

Director Andre De Toth

Starring Vincent Price, Phyllis Kirk

Scott’s Review #1,081

Reviewed November 13, 2020

Grade: B+

House of Wax (1953) is a classic horror film that should be watched by anyone with a fondness for the genre as the macabre elements make it a must-see.

Be sure to watch the 1953 version, not the mediocre 2005 remake that starred Paris Hilton with a severely changed storyline.

Interestingly, the 1950s version is a remake of the 1933 film Mystery of the Wax Museum, which I was not aware of until recently.

Pre-code 1930s horror is brilliant, so I cannot wait to watch this offering soon.

The production has the honor of being the first color 3-D film released by a major film studio and the result is stylish and impressive for that early in cinema. If this isn’t enough, the incomparable Vincent Price also has the starring role.

With these riches, one could anticipate a masterpiece like Frankenstein (1931) or King Kong (1933). It’s not quite on that level with a B-movie vibe that rises immensely in respectability with exquisite human art, a chilling premise, and a lesson about historical figures of long ago.

The film is a very short eighty-eight minutes.

The haunting and atmospheric opening titles, to immediately showcase the 3-D, appear in the first shot, alongside a rainy and dreary New York City set. The time is the early 1900s.

Director, Andre De Toth confirms to his audience that it’s a 3-D film with the bold title leaping out of the screen within seconds. This sets the tone perfectly as the illustrious wax museum set is up next.

Wax creations like Marie Antoinette, John Wilkes Booth, and Joan of Arc pose in the vast gallery.

Henry Jarrod (Price) is a Professor who views his creations as his children, each unique and human-like to him. Marie is his ultimate masterpiece and one wonders if she is his fantasy wife. His business partner, Burke (Roy Roberts) wants out of their partnership and goes to drastic measures to gain insurance money. He sets fire to the museum which burns to the ground, horribly disfiguring Henry.

The Professor goes off the deep end and rebuilds the museum using real human beings that he steals from the morgue! Frankenstein’s influence is obvious.

Besides Price, the star is the wax museum, almost a character, but never upstages Price. Henry is sympathetic and menacing, and I felt sorry for the guy. Not only is his house of wax destroyed, but he has a disfigured face for life. His insurance policy benefit is of little comfort, nor is killing the man responsible for his misfortune.

I guess we are supposed to root for Sue Allen (Phyllis Kirk) and Scott Andrews (Paul Picerni), the main couple, and attempt to solve the mystery of why the wax figures look like dead people they know.

They are not the strongest element of the film, though. Like other famous horror villains Norman Bates and Hannibal Lecter, Henry is appealing, and we like him.

I would have liked to learn more about Henry before his ruination. Besides a brief tour of his museum, where he cleverly describes each work, we don’t know much about his life. He is creepy, but what else? Has he ever married? What are his parents like?

Charles Bronson and Carolyn Jones have small roles as Henry’s mute assistant Igor and Burke’s gold-digging girlfriend, Cathy, respectively. This is fun since both went on to legendary careers in film and television.

A must-see for anyone studying cinematic technique or good horror trimmings, House of Wax (1953) contains state-of-the-art effects for the time, illuminating gas-lit streets of New York City, and a finale that includes a boiling hot vat of molten wax (what else!) that inspired a James Bond film.

These facets are nice, but any horror film starring Vincent Price is worth the price of admission.

Lawrence of Arabia-1962

Director David Lean

Starring Peter O’Toole, Alec Guinness, Omar Sharif

Top 100 Films #82

Scott’s Review #355

Reviewed January 9, 2016

Grade: A

Lawrence of Arabia (1962) is quite a grand film and one that must be seen on the large screen to fully appreciate the enormous scale of the production.

Numerous shots of objects appearing in the distance are featured and the small screen dulls the experience.

A wonderful film from top to bottom and groundbreaking at the time by the scope and vast proportions of the production, Lawrence of Arabia achieves its place in the annals of cinema history and is a treat to revisit from time to time.

The film is divided into two parts divided by an intermission as was the case with epics nearly four hours in length.

Peter O’Toole stars as T.E. Lawrence, a bored British Army Lieutenant, who talks his way into a transfer to the Arabian desert.

As the film opens, it is 1935, and Lawrence has just been killed in a motorcycle accident. This concept of revealing the ending of the story and working backward, common in current films, was a novel experience in 1962 when the film was made.

While in Arabia, Lawrence successfully bands together bitter rival tribes to work together to unite against Turkish oppression during World War I. While there he meets two young guides and other central characters such as Prince Faisal (Alec Guinness) and Sherif Ali (Omar Sharif).

Much of the film features the many battles that occur between the rival tribes and the peace that Lawrence has to achieve.

Also, a multitude of location sequences of Lawrence and company traveling across miles and miles of hot desert is featured.

Some complain that Lawrence of Arabia is too slow-moving a film, but to me, that is its selling point. I find the scenes of the group languishing across the desert incredibly lush and rich in meaning.

The intense heat and the beating sun are fantastic in their cinematic grandeur. The film is meant to take its time- exactly how the experience in the Arabian desert would really be like and the mountainous dunes and swirling winds are brilliantly filmed.

David Lean is the king of the sprawling epic and Lawrence of Arabia is his crown achievement.

The character of Lawrence is written well and he is a layered and complex individual- he is not easy to describe or to understand and that is also to the film’s credit.

The sheer weight loss that O’Toole went through over the two years that it took to film Lawrence of Arabia is impressive enough, but he is also a tortured soul emotionally.

An epic film of the grandest proportions, Lawrence of Arabia requires a half-day of dedicated viewing but is worth every minute.

For a reminder of what a true, breathtaking film looks like sans the oversaturated CGI and quick edits, one should take a deep breath and appreciate this work of art for its majestic look.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-David Lean (won), Best Actor-Peter O’Toole, Best Supporting Actor-Omar Sharif, Best Screenplay Based on Material from Another Medium, Best Music Score-Substantially Original (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Film Editing (won)