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Speaker 1: Hey, welcome to Weird House Cinema. Rewind, it's Monday, so

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Speaker 1: we have a classic episode of Weird House Cinema here

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Speaker 1: for you. This one is going to be our episode

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Speaker 1: on House of Wax from nineteen fifty three. This is

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Speaker 1: a three D cinema classic starring the fabulous as always,

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Speaker 1: Vincent Price. It is the movie that made him a

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Speaker 1: horror icon. It also features performances by Charles Bronson and

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Speaker 1: Carolyn Jones. It originally published four twenty eight, twenty twenty three.

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Speaker 1: Let's have It.

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Speaker 2: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 1: Hey you welcome to Weird House Cinema.

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Speaker 3: This is Rob Lamb and this is Joe McCormick, and

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Speaker 3: we're back with week two in our series of three

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Speaker 3: weeks of three D. Last week's movie was the three

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Speaker 3: D adventure Treasure of the Four Crowns. Today's film is

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Speaker 3: the nineteen fifty three horror classic House of Wax, starring

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Speaker 3: Vincent Price. Now, since we're going to inevitably be tempted

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Speaker 3: to compare and contrast with last week's film, Treasure of

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Speaker 3: the Four Crowns, I want to write off the bat

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Speaker 3: and mention some big differences that at least are my opinion.

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Speaker 3: Maybe your opinion will be different, Rob, But I'm gonna

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Speaker 3: say House of wax is in almost every way a

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Speaker 3: much better movie than Treasure of the Four Crowns. Both

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Speaker 3: are great, can't be fun, but House of Waxes is

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Speaker 3: actually a really solid horror movie, clever stylish in a

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Speaker 3: way that that Treasure is not.

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Speaker 1: Oh absolutely, a House of wax is in a league

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Speaker 1: all its own compared to Treasure of the Four Crowns.

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Speaker 1: And we'll get into that. I mean, it's an important

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Speaker 1: three D film. It is a three D film that

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Speaker 1: very much holds up to subsequent viewing and subsequent decades,

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Speaker 1: regardless of whether you're watching it in three D or

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Speaker 1: two D.

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Speaker 3: Yeah, that's another thing I was gonna say, So very

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Speaker 3: different approaches to three D here. As we mentioned last time,

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Speaker 3: we were watching these three D movies the same way

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Speaker 3: almost everybody does today, meaning in two D. Most people

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Speaker 3: do not have the requisite home video playback equipment necessary

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Speaker 3: to experience high quality three D at home. So and

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Speaker 3: we even looked into that, it's like, what do you

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Speaker 3: need to watch most of these movies in three D today?

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Speaker 3: I mean, with a lot of them, you actually need

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Speaker 3: the three D Blu ray player, the three D TV,

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Speaker 3: and the glasses or I don't know. So we didn't

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Speaker 3: mess around with all that because most people are not

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Speaker 3: going to see the movies like that today.

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Speaker 1: Yeah, now we tried. I went to Atlanta's only video store,

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Speaker 1: Video Drome, and I was talking with Matt there, the

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Speaker 1: guy runs it, and we were looking at we were

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Speaker 1: looking at DVD cases and Blu ray cases. He had

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Speaker 1: a tub of three D glasses he was getting out,

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Speaker 1: and we basically just came to the realization that you

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Speaker 1: have most of these that are available on Blu ray

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Speaker 1: or DVD, you can't even use any kind of like

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Speaker 1: at home glasses scenario. Your only option for at home

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Speaker 1: three D viewing with most of the titles is to

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Speaker 1: get yourself a big, big, fancy three D Blu ray player,

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Speaker 1: three D television. And even then those are bits of

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Speaker 1: technology that are going that are kind of out of

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Speaker 1: fad at the moment. So we're already past that particular

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Speaker 1: at home three D boom or so it.

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Speaker 3: Seems maybe they'll come back. I mean three D, as

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Speaker 3: we've said, always seems to come in waves. It'll ebb

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Speaker 3: and flow but for the most part, I think it

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Speaker 3: makes sense to consider three D movies as pieces of

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Speaker 3: media that have multiple lives. So they might have an

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Speaker 3: initial run of three D in the theaters and that

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Speaker 3: is how people see them in the theaters, but then

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Speaker 3: after that they have an afterlife. They sort of haunt

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Speaker 3: our world as a two D shadow of their former selves.

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Speaker 3: And the essential question to ask about a movie like

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Speaker 3: this is does it hold up in both forms or

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Speaker 3: is this something that's really only enjoyable in the three

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Speaker 3: D format where it was originally intended. Treasure of the

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Speaker 3: Four Crowns was fun for I don't know if you

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Speaker 3: have the right ironic spirit, but it is also the

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Speaker 3: most three D movie ever made. It is so overrun

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Speaker 3: with three D gags. If you take out the three

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Speaker 3: D element, you are left with an incredibly strange film experience,

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Speaker 3: Like half of the runtime is just things poking at

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Speaker 3: the camera for no reason and not actually coming out

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Speaker 3: of the screen at you.

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Speaker 1: Yeah. Absolutely, Four Crowns is basically an amusement park ride

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Speaker 1: with some resemblance to cinema, whereas this film is an

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Speaker 1: illegitimate but piece of cinema that also has three D

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Speaker 1: elements that are not just little extras, but also add

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Speaker 1: to the immersion factor.

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Speaker 3: I agree House of Waxes is not like Treasure. There

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Speaker 3: are a handful of what I would call utterly gratuitous

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Speaker 3: three D effects shots, such as the paddleball Man. We'll

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Speaker 3: get to that later. On the paddle Ball Man, there

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Speaker 3: are some dancers that I imagine were put in just

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Speaker 3: so they could fulfill a desire for a sort of

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Speaker 3: titillating three D sequence. But for the most part, the

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Speaker 3: movie functions on home video as a normal piece of cinema.

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Speaker 3: You could forget that it was a three D movie

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Speaker 3: except for a couple of little moments.

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Speaker 1: Absolutely yeah, It's also a movie that captured and continues

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Speaker 1: to capture people's imaginations outside of the three D scenario.

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Speaker 1: Just one quick example of this, and this was brought

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Speaker 1: up in an excellent documentary that's on the Blu ray

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Speaker 1: for a House of Wax that I watched that have

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Speaker 1: rented from Video drum It. It's titled House of Wax

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Speaker 1: Unlike anything You've seen before. It was produced in twenty thirteen,

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Speaker 1: and like one of the people they interviewed there pointed

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Speaker 1: out that like the magazine Famous Monsters of Film, Land

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Speaker 1: had this really gorgeous painting illustration of the monstrous Vincent

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Speaker 1: Price character on the front. You know it was. It

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Speaker 1: really resonated with with film fans and horror enthusiasts of

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Speaker 1: the day and subsequent generations to follow you and today

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Speaker 1: as well. So it created an iconic villain, iconic character. Really,

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Speaker 1: as we'll discuss, he's not you can you can. He's

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Speaker 1: a little more complicated than just a pure villain, but yeah,

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Speaker 1: capture people's imagination. And then the three D added to

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Speaker 1: the immersion experience when you actually went and saw it

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Speaker 1: in the initial three D run or one of the

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Speaker 1: subsequent three D runs, either in theater or on home

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Speaker 1: the home video.

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Speaker 3: To pick up on your villain or not comment, I

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Speaker 3: would say Vincent Price is a villain in this, but

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Speaker 3: he's a tragic villain. It's one of those cases where

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Speaker 3: you can see how he was made villainous by some

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Speaker 3: by by having been wronged in the first place.

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Speaker 1: Right. It's one of the things that makes especially Gothic

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Speaker 1: horror films more impactful. I mean, it's one of the

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Speaker 1: reasons that so many of the Paul Nashi Spanish horror

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Speaker 1: films are so great. It's because you know, there are

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Speaker 1: obviously budget limitations in those films, and plenty of other

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Speaker 1: limitations as well. But Nashi loved the gothic horror films.

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Speaker 1: He loved the monsters that you also felt sympathy for,

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Speaker 1: that you related to on some level, that had this

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Speaker 1: outsider status. And so that's very much in play in

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Speaker 1: this film.

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Speaker 3: And while I don't really even mean this as a criticism,

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Speaker 3: this is one of those films, like some Batman films

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Speaker 3: in the past, where the villain is really the most

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Speaker 3: charismatic character on the screen. The villain is in the

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Speaker 3: sense who the one you have no choice but to

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Speaker 3: root for, because the villain is Vincent Price and the heroes,

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Speaker 3: I don't know, or are you going to be like, Wow,

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Speaker 3: I'm really rooting for the cop who's trying to catch him.

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Speaker 3: I'm really rooting for Scott the Sculptor.

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Speaker 1: Yeah, Vincent Price had that special kind of energy that

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Speaker 1: certainly in a film like this, he ends up attracting

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Speaker 1: all of your sympathy and attention. But even in later

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Speaker 1: for films we've discussed in the show before, even if

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Speaker 1: he has a smaller part versus other noteworthy character actors

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Speaker 1: and horror icons. There's just something about Price that no

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Speaker 1: one else can can equal. You know, there's a likability

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Speaker 1: factor there that is missing in some of the even

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Speaker 1: some of the other greats of the of the era,

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Speaker 1: you know, like a Christopher Lee or something. You know,

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Speaker 1: like there's a charm, there's a set. I mean, Christopher

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Speaker 1: Lee had his own charm, his own charisma going on.

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Speaker 1: But Price had something a little special.

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Speaker 3: Well, even as Prince Prospero in the Mask of the

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Speaker 3: Red Death or he is an utterly satanic, aristocratic torturer,

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Speaker 3: he just kind of can't help but like him absolutely.

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Speaker 1: Now. That documentary House of Wax unlike anything you've seen before,

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Speaker 1: great job breaking down the picture's place in cinema history

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Speaker 1: and includes some great interview clips from the likes of

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Speaker 1: Martin Scorsese, who holds this up as one of the

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Speaker 1: greatest three D pictures ever made. Rick Baker, of course,

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Speaker 1: the special effects makeup Wizard, Wes Craven, Joe Dante, Larry Cohen,

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Speaker 1: and also Victoria Price and surprises Doctor and I think

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Speaker 1: some of the key facts that they drive home about

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Speaker 1: three D in this film from the documentary are as follows. So,

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Speaker 1: first of all, this was produced to this film nineteen

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Speaker 1: fifty three. House of Wax was produced during a time

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Speaker 1: in which city audiences were moving out to the suburbs

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Speaker 1: away from the big theaters, and on top of that,

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Speaker 1: more people were staying home to watch things on TV.

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Speaker 1: So three D in this case was the big studio gamble,

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Speaker 1: in this case from Warner Brothers, to get people back

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Speaker 1: in the theater, give them a well funded, artistically solid,

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Speaker 1: technologically groundbreaking, full color gothic horror picture.

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Speaker 3: To give them something they could not get on the

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Speaker 3: TV set at home.

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Speaker 1: Right, Yeah, and you know, this is something that theaters

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Speaker 1: would come back to and continue to do and have

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Speaker 1: done in recent years as well. In this case in

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Speaker 1: fifty three, it absolutely worked. This film was a big hit.

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Speaker 1: It ushered in a three D boom that would prove

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Speaker 1: profitable for according to the documentary, at least a year

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Speaker 1: and a half. So even then it's still kind of

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Speaker 1: a flash in the pan, but enough for some films

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Speaker 1: to come in to make some money, and then it,

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Speaker 1: you know, three D dies back down again, but comes

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Speaker 1: back up in the seventies and the eighties, et cetera. Now,

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Speaker 1: this was also the first three D film with stereophonic

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Speaker 1: sound to be presented in a regular theater, and in

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Speaker 1: regular we'll put an asterix by that. And it was

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Speaker 1: also the first color three D feature film from a

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Speaker 1: major American studio. The sound on This Baby was supposedly

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Speaker 1: amazing if you saw it in the right theater. It

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Speaker 1: even had its own screen track that was projected from

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Speaker 1: the back of the theater, which I can kind of

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Speaker 1: imagine what that was like. But the way they were

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Speaker 1: describing it is that like it made any screams in

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Speaker 1: the film like throw you off a little bit more

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Speaker 1: just because of the way the sound was orchestrated.

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Speaker 3: It sounds like it's coming from some like the audience

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Speaker 3: behind you or something. Yeah, Vincent Price is in the theater.

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Speaker 3: That almost sounds like a William Castle kind of gimmick.

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Speaker 1: Sometimes Vincent Price was in the theater, According to way

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Speaker 1: too much, But yeah, a couple of interviews I think

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Speaker 1: I think this is one from his daughter pointed out

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Speaker 1: that as this was showing in New York City, he

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Speaker 1: was in a play in New York and he would

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Speaker 1: sometimes go to the theater to see how people were reacting,

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Speaker 1: and something he enjoyed doing was was seating himself behind

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Speaker 1: some like it, like a pair of young women who

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Speaker 1: were watching the show and were, you know, freaking out

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Speaker 1: at all the scares. And then afterwards he would lean

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Speaker 1: forward and say did you enjoy it? And and freak

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Speaker 1: them out. So sometimes you got that additional level of

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Speaker 1: three D.

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Speaker 3: Oh that's so good. Oh hey, listeners, were you in

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Speaker 3: the theater in nineteen fifty three and startled by Vincent

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Speaker 3: Price in person?

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Speaker 1: Right in? If so, certainly I'd love to hear from

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Speaker 1: anyone who has experiences from watching you know, yeah, anybody

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Speaker 1: saw any of these three D films back in the fifties,

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Speaker 1: definitely right in, but also subsequent generations of three D.

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Speaker 1: They also included a lot of technical information about it

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Speaker 1: that I found really interesting. So this shoot. The shoot

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Speaker 1: for this film utilized Julian and Milton Gunsberg's Natural Vision

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Speaker 1: three D system, the same one that was used for

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Speaker 1: Buana Devil in fifty two. This is one that we

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Speaker 1: actually referenced this briefly in the last episode because Ebert

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Speaker 1: alluded to it as being like a very gimmicky, throw

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Speaker 1: stuff at the camera sort of three D picture. Anyway,

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Speaker 1: the rig for this involved two cameras aimed at each

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Speaker 1: other with mirrors then positioned at around the distance of

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Speaker 1: human eyes facing forward towards what you're filming. And this

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Speaker 1: was like a big rig. You can look up images

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Speaker 1: of it. It's a monster of a like a double camera.

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Speaker 1: And then in theaters you had to have two projectors

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Speaker 1: going at once, each projecting one of these two reels

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Speaker 1: of film the resulting film of course, after editing and

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Speaker 1: so forth. Scorsese commented on just how complex in the documentary,

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Speaker 1: commented on just how complex this was for projectionists because

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Speaker 1: if you had you had an air occur on one projector,

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Speaker 1: then you had to stop the other, and then you

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Speaker 1: had to make sure they were syncing up, because, according

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Speaker 1: to Scorsese, was just absolutely brain breaking to watch if

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Speaker 1: you got those two reels out of sync. And of

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Speaker 1: course the audience was wearing glasses for all.

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Speaker 3: Of this, watching the movie in double but one is

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Speaker 3: like a half second behind the other. That's hilarious.

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Speaker 1: Yeah. Now. House of Wax was later reissued in nineteen

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Speaker 1: seventy one using Chris Condon's single strips stereo vision three

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Speaker 1: D format, and the film is very well shot, makes

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Speaker 1: great use of depth that you can certainly get just

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Speaker 1: watching the film in two D, but was apparently even

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Speaker 1: more impressive than three D. And yeah, it gets a

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Speaker 1: little gimmicky in a few places. They don't completely they're

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Speaker 1: not too good for three D. They embrace the spectacle

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Speaker 1: of three D where appropriate, incorporating three D elements where appropriate.

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Speaker 1: But more than anything, they use the three D as

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Speaker 1: an immersive element of the cinematic storytelling. All right, Joe,

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Speaker 1: what's the elevator pitch for this one? What do you got?

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Speaker 3: All right? Vincent Price plays Professor Henry Jared, a man

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Speaker 3: who renders exquisitely beautiful in lifelike sculptures of the human

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Speaker 3: form in wax. But when his artworks are destroyed in

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Speaker 3: a fire by a scheming business partner, a disfigured and

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Speaker 3: devastated Jared emerges from the ashes to turn his genius

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Speaker 3: to the domains of exploitation and revenge and murder.

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Speaker 1: All right, we're going to listen to just a little

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Speaker 1: tiny bit of this trailer. But this is one of

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Speaker 1: those trailers that features no voiceover, no dialogue, no sound

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Speaker 1: from the film, just music, and not even pictures or

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Speaker 1: images from the film, just some cards that come up

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Speaker 1: that say you heard about it, and then you take

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Speaker 1: that in you read about it, and then you take

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Speaker 1: that in you may even think you've seen it, and

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Speaker 1: that I think maybe an allusion to the fact that

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Speaker 1: this is a remake, and we'll get into that in

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Speaker 1: a bit. But anyway, it goes on and on. Let's

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Speaker 1: just hear just a little bit of that music, all right,

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Speaker 1: all right, that's enough. That's enough. That's all you need

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Speaker 1: to hear.

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Speaker 3: What were people reading about this movie in nineteen fifty three?

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Speaker 3: Were they actually like reading the reviews in the newspapers?

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Speaker 1: I guess, I guess you know they're reading the newspapers.

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Speaker 1: They're getting excited about about this film. I mean, you know,

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Speaker 1: lord knows Warner Brothers was promoting it, trying to get

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Speaker 1: people excited coming back to their theaters.

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Speaker 3: So yeah, there wasn't like a fangoria blog in nineteen

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Speaker 3: fifty three.

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Speaker 1: All right, where is this playing? If you want to

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Speaker 1: go out and watch it before listening to the rest

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Speaker 1: of this episode, Well, it's highly available to rent or

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Speaker 1: stream digitally, and I think it's streaming on Turner Classic

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Speaker 1: Movies service. I honestly, I didn't think they even had

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Speaker 1: a service, but they do apparently based on what I

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Speaker 1: was looking at the Blu ray for this is great,

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Speaker 1: but as we'll discuss, the tragedy is that this film

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Speaker 1: was made to be experienced in three D in the theater,

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Speaker 1: and it's just not an option for most viewers of

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Speaker 1: the film today. Luckily, as we've been saying, it's still

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Speaker 1: very enjoyable and historically important regardless of how you're seeing it,

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Speaker 1: So it totally holds up into V and it's a

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Speaker 1: lot of fun. All right, Well, let's get into the

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Speaker 1: cast and crew behind this picture. First of all, at

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Speaker 1: the top directing it is Andre de Toff, who lived

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Speaker 1: nineteen thirteen through two thousand and two.

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Speaker 3: Now that name has come up on Weird House Cinema before,

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Speaker 3: but not as a director from what I recall.

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Speaker 1: No, he has a brief cameo in Wes Craven's Spontaneous

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Speaker 1: Combustion from nineteen ninety starring Brad Doriff that we watched

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Speaker 1: on the show Wes Craven.

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Speaker 3: Wait a minute, Spontaneous Combustion was Toby Hooper?

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Speaker 1: Wasn't. Oh I'm sorry, I'm sorry Toby Hooper. I think

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Speaker 1: I threw me off. Because of course, Wes Craven is

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Speaker 1: in that documentary. Toby Hooper directed Spontaneous Combustion.

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Speaker 3: Yes, the movie about spontaneous combustion, where where Brad Doura

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Speaker 3: shoots fire out of his eyes and out of his hands.

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Speaker 1: Yeah, but obviously Toby Hooper, I think what we're going

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Speaker 1: to take from all of this is he would have

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Speaker 1: been a fan of this movie as well. This was

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Speaker 1: a movie that cast a long shadow and influenced a

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Speaker 1: lot of the people that would go on to be

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Speaker 1: subsequent generations of horror film makers. So Andre de Taff

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Speaker 1: was a Hungarian American director who was of solid hand

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Speaker 1: in the Warner Brothers system. He'd been directing since nineteen

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Speaker 1: thirty nine, and I believe he'd worked mostly on thrillers, dramas,

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Speaker 1: general action pictures, you know, some Westerns and so forth.

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Speaker 1: But again solid hand, very technically proficient, and this would,

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Speaker 1: I believe, be the only horror film he'd ever direct.

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Speaker 1: He later served as second unit director on seventy eight, Superman,

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Speaker 1: nineteen sixty five, Thunderball. In nineteen sixty two's Lawrence of Arabia.

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Speaker 1: It's often pointed out that Detov had only one eye.

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Speaker 1: He wore an eye patch. Most images you look up

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Speaker 1: of him are going to be him wearing an eye patch,

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Speaker 1: so that means that he himself could not see in

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Speaker 1: three dimensions. He couldn't see in three D, but he

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Speaker 1: had a great head for optics and cinema, so it

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Speaker 1: was hardly a limiting factor. Now. Interestingly enough, the studio

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Speaker 1: Warner Brothers asked the tok not to wear his eye

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Speaker 1: patch while working on and later promoting the picture because

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Speaker 1: they didn't want the public to think about their big

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Speaker 1: three D film that was going to revitalize everything, as

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Speaker 1: they didn't want them to associate it with a one

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Speaker 1: eyed man. That's mean. Yeah, and from what they said

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Speaker 1: in the documentary to tot was in general not the

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Speaker 1: sort of guy that would normally have put up with

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Speaker 1: this kind of request. But he apparently agreed. He didn't

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Speaker 1: wear the eye patch because he just he really wanted

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Speaker 1: to make the picture and realized that he needed, I

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Speaker 1: guess to play Paul with Warner Brothers on this one thing.

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Speaker 1: But he, yeah, he really believed in the picture. He

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Speaker 1: believed in the three D. They said that later he

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Speaker 1: would sometimes he would go to screenings of the picture.

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Speaker 1: You know, I guess you know they're promoting like the

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Speaker 1: director will be there, and he would threaten to leave.

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Speaker 1: He'd threatened to get on a flight and go home

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Speaker 1: immediately if he found out that they weren't showing it

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Speaker 1: in three dimensions.

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Speaker 3: So he's committed. I thought you were going to say

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Speaker 3: that the studio was afraid if people saw him with

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Speaker 3: the eyepatch, that they would worry that watching a movie

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Speaker 3: in three D would make them lose sight in one eye.

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Speaker 1: Huh, Yeah, I don't know. I've never seen any scare

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Speaker 1: tactics about three D, certainly from William Castle. It's hew

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Speaker 1: plenty of scare tactics about just how frightening a movie

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Speaker 1: could be. It may kill you, but not so much

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Speaker 1: put an eye on.

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Speaker 3: I dare you to see my movie, you will probably

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Speaker 3: be dead, all right.

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Speaker 1: The screenplay for this one was from Crane Wilbur who

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Speaker 1: lived eighteen eighty six through nineteen seventy three, early twentieth

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Speaker 1: century actor turned writer. His other films on which he

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Speaker 1: wrote included nineteen forty eighth Cannon City, fifty nine's The Bat,

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Speaker 1: thirty six's The Devil on Horseback, nineteen fifties Outside the Wall,

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Speaker 1: fifty three's Crime Away that was also directed by t

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Speaker 1: Toaf and nineteen fifty four is The Mad Magician, which

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Speaker 1: was a Vincent Price three D kind of a follow

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Speaker 1: up to this picture from another studio, but it's in

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Speaker 1: black and white. It's supposed to be fun as well.

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Speaker 1: Wilber also wrote nineteen sixty two's Mysterious Island.

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Speaker 3: I don't want to be too harsh, because I'd say

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Speaker 3: this is a pretty good script for nineteen fifty three,

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Speaker 3: but it has a common, i would say, a problem

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Speaker 3: that is fairly common too horror movies from the fifties,

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Speaker 3: which is that the good characters aren't super interesting. So

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Speaker 3: like Sue and Scott and the police, basically all of

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Speaker 3: the people you're supposed to be rooting for are you know,

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Speaker 3: they're fine, but like the real character interest is in

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Speaker 3: the villains exactly now.

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Speaker 1: The story credit for this one goes to Charles Belden,

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Speaker 1: who lived nineteen oh four through nineteen fifty four. Screenwriter

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Speaker 1: who is pretty active in the forties and fifties, but

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Speaker 1: his story credit on this and also on related wax movies,

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Speaker 1: is what he's best remembered for. His original story was

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Speaker 1: adapted into nineteen thirty threes Mystery of the Wax Museum.

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Speaker 1: This was a follow up to a film we watched

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Speaker 1: on the show for Weird House Cinema a while back,

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Speaker 1: Doctor X, starring Lionel Atwill and Fay Ray. This also

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Speaker 1: starred Lionel Atwill and Fey Ray, with Atwill playing the

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Speaker 1: wax Master, the Vincent Price role, but with a different name.

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Speaker 3: Oh I'm sorry, I was just looking something up, but

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Speaker 3: I'm a little confused because I did not recall Lionel

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Speaker 3: Atwill's character surviving at the end of Doctor X.

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Speaker 1: It's not the same character. It's more of a you know,

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Speaker 1: don't think of it as sequel, but just like a

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Speaker 1: follow up where they were like, hey, you guys really

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Speaker 1: made a great kind of modern feeling, two tone technicolor

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Speaker 1: gothic horror story here, but with again with modern elements

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Speaker 1: to it. Let's have another slice of that. What can

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Speaker 1: you dish up for us? And they ended up doing

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Speaker 1: Mystery of the Wax Museum and it was also directed

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Speaker 1: by the same director, Michael Curtis.

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Speaker 3: Okay, so Doctor X it had a wax theme, but

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Speaker 3: I from what I recall, it was only as like

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Speaker 3: the twist at the end that you found out about

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Speaker 3: this so called synthetic flesh that was more or less

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Speaker 3: used like the wax, like the wax that Vincent Price

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Speaker 3: uses in this movie exactly.

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Speaker 1: Yeah, so there's some similar The synthetic flash is definitely

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Speaker 1: a common element of both pictures. A Mystery of the

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Speaker 1: Wax Museum is a gorgeous looking two tone technicol or

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Speaker 1: gothic horror film has some great horror elements in it.

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Speaker 1: A number of the best moments in this film are

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Speaker 1: kind of just direct remakes of what occurred in that movie,

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Speaker 1: but it also has some really rough dialogue moments and

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Speaker 1: darker plot elements that absolutely wouldn't have flown in the

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Speaker 1: nineteen fifties, and some of these elements wouldn't fly to

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Speaker 1: get today either for good reason. So nineteen fifty three's

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Speaker 1: House of Wax is a remake and kind of a reminder.

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Speaker 1: As tired as we get of remakes, sometimes they can

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Speaker 1: be great. Sometimes they can improve upon and redefine that

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Speaker 1: previous film. And it's a fairly blow for blow for

434
00:24:04,280 --> 00:24:08,800
Speaker 1: blow remake as I remember, though, without the drugs, strong

435
00:24:08,840 --> 00:24:13,520
Speaker 1: necrophilia vibes and casual racism of the previous nineteen thirties film. Okay,

436
00:24:13,920 --> 00:24:17,560
Speaker 1: both films inspired a whole subgenre of wax movies, and

437
00:24:17,640 --> 00:24:22,119
Speaker 1: this film, A House of Wax was very loosely, very

438
00:24:22,160 --> 00:24:25,920
Speaker 1: loosely remade in two thousand and five as House of Wax.

439
00:24:26,320 --> 00:24:29,159
Speaker 1: Belden retained a story credit on that film, but it

440
00:24:29,280 --> 00:24:32,320
Speaker 1: is otherwise, it's a completely different thing, nothing to do

441
00:24:32,359 --> 00:24:34,879
Speaker 1: with this picture or the nineteen thirties picture written by

442
00:24:34,920 --> 00:24:37,960
Speaker 1: the screenwriters behind the Conjuring franchise man.

443
00:24:38,040 --> 00:24:40,600
Speaker 3: The two thousand and five House of Wax is rough.

444
00:24:40,840 --> 00:24:44,720
Speaker 3: I tried to rewatch that a few years ago when

445
00:24:44,760 --> 00:24:47,840
Speaker 3: we did our Core episode about Wax, where we talked

446
00:24:48,040 --> 00:24:52,320
Speaker 3: very briefly about this movie we're looking at today. You

447
00:24:52,440 --> 00:24:54,480
Speaker 3: deserve a prize if you can sit through the two

448
00:24:54,520 --> 00:24:57,960
Speaker 3: thousand and five movie. It is rough.

449
00:24:58,480 --> 00:25:00,679
Speaker 1: I think, as I said before, one of the things is,

450
00:25:00,720 --> 00:25:03,920
Speaker 1: you've got to have a compelling wax master character. You've

451
00:25:03,920 --> 00:25:06,560
Speaker 1: got to have somebody in there playing the Vincent Price role.

452
00:25:07,080 --> 00:25:09,200
Speaker 1: And if you don't, what are you doing? What are

453
00:25:09,200 --> 00:25:13,760
Speaker 1: you doing doubling down on victim characters in your wax movie.

454
00:25:13,800 --> 00:25:15,680
Speaker 1: I don't know how much of it we can really

455
00:25:15,680 --> 00:25:18,000
Speaker 1: blame on the screenwriters here, How much of it is

456
00:25:18,040 --> 00:25:19,520
Speaker 1: the director for how much of It is just like

457
00:25:19,920 --> 00:25:23,280
Speaker 1: that's what people wanted or the studios thought people wanted

458
00:25:23,520 --> 00:25:24,640
Speaker 1: in two thousand and five.

459
00:25:24,840 --> 00:25:26,840
Speaker 3: Yeah, I think two thousand and five is the beginning

460
00:25:26,880 --> 00:25:29,600
Speaker 3: of the torture porn era. It's like Saw had come

461
00:25:29,600 --> 00:25:34,320
Speaker 3: out and people were into that, and people wanted, like,

462
00:25:35,440 --> 00:25:38,120
Speaker 3: I don't know, that vibe of the mid two thousand's

463
00:25:38,119 --> 00:25:43,160
Speaker 3: horror movie It was like you wanted a kind of queasy, gross,

464
00:25:43,240 --> 00:25:48,240
Speaker 3: fluorescent lit scenes of like slick surfaces gleaming with blood

465
00:25:48,320 --> 00:25:51,760
Speaker 3: and bodies just being mutilated and while people scream. It

466
00:25:51,800 --> 00:25:53,120
Speaker 3: was a bad time for horror.

467
00:25:53,600 --> 00:25:58,359
Speaker 1: Yeah, but again, wax what these wax movies highly influential.

468
00:25:58,800 --> 00:26:02,240
Speaker 1: We could easily just do wax museum movies for like,

469
00:26:03,080 --> 00:26:05,160
Speaker 1: you know, a good couple of months, maybe three months,

470
00:26:05,240 --> 00:26:07,760
Speaker 1: if we so desired. All right, let's get to the

471
00:26:08,320 --> 00:26:12,520
Speaker 1: star here. Vincent Price, playing Professor Henry Jared Price lived

472
00:26:12,560 --> 00:26:16,080
Speaker 1: nineteen eleven through nineteen ninety three Horror Icon. This is

473
00:26:16,119 --> 00:26:19,080
Speaker 1: I believe, our fourth Vincent Price film, as we previously

474
00:26:19,119 --> 00:26:22,960
Speaker 1: discussed seventy one's The Abominable Doctor Fibes nineteen seventy Scream

475
00:26:23,000 --> 00:26:25,720
Speaker 1: and Scream Again in nineteen sixty four is The Mask

476
00:26:25,920 --> 00:26:29,520
Speaker 1: of the Red Death. So we're not going to really

477
00:26:29,560 --> 00:26:32,040
Speaker 1: retread a lot of what we talked about. There is

478
00:26:32,080 --> 00:26:35,520
Speaker 1: basic history, except to say that this film is extremely

479
00:26:35,560 --> 00:26:38,840
Speaker 1: pivotal to Vincent Price's career. Prior to House of Wax,

480
00:26:38,920 --> 00:26:42,119
Speaker 1: he was not an actor associated with horror films. He

481
00:26:42,280 --> 00:26:45,280
Speaker 1: was like an occasional leading man, but mostly he did

482
00:26:45,320 --> 00:26:48,240
Speaker 1: secondary roles. He was, you know, he was a very

483
00:26:48,280 --> 00:26:51,800
Speaker 1: tall man. He was certainly handsome, so he was often

484
00:26:51,840 --> 00:26:54,760
Speaker 1: pushed in the leading man direction. But I think it's

485
00:26:54,800 --> 00:26:57,520
Speaker 1: like nothing like completely clicked there.

486
00:26:58,080 --> 00:27:00,000
Speaker 3: Let's see, what have we talked about the Vincent Price

487
00:27:00,080 --> 00:27:03,600
Speaker 3: I did before this. We certainly looked at his role

488
00:27:03,640 --> 00:27:07,760
Speaker 3: as the narrator of the nineteen forty nine TV adaptation

489
00:27:08,000 --> 00:27:11,080
Speaker 3: of Charles Dickens a Christmas Carol, which is twenty five

490
00:27:11,119 --> 00:27:14,520
Speaker 3: minutes long. It's called the Christmas Carol, and it was

491
00:27:14,560 --> 00:27:18,840
Speaker 3: a half hour television special presented by the Magnavox Corporation.

492
00:27:19,119 --> 00:27:22,840
Speaker 3: And it's let's just say that was not using Vincent

493
00:27:22,880 --> 00:27:25,400
Speaker 3: Price to the fullest extent of his talents.

494
00:27:25,760 --> 00:27:29,320
Speaker 1: Yeah, and I think even you think of like nineteen

495
00:27:29,320 --> 00:27:31,919
Speaker 1: fifties leading men too, it's like, would you want Price

496
00:27:31,960 --> 00:27:34,760
Speaker 1: to play those roles. I think clearly Price had more

497
00:27:34,760 --> 00:27:37,520
Speaker 1: to offer because most of those leading man roles in

498
00:27:37,560 --> 00:27:40,199
Speaker 1: the nineteen fifties is just not that interesting. With a

499
00:27:40,200 --> 00:27:42,439
Speaker 1: few exceptions, I mean, you did have some standout stars,

500
00:27:42,480 --> 00:27:44,440
Speaker 1: but generally they're not in the movies we watched for

501
00:27:44,520 --> 00:27:45,400
Speaker 1: Weird House Cinema.

502
00:27:45,480 --> 00:27:47,200
Speaker 3: Yeah, a lot of the like horror and sci fi

503
00:27:47,280 --> 00:27:51,239
Speaker 3: movies in the fifties, the quote hero often has very

504
00:27:51,320 --> 00:27:54,000
Speaker 3: little personality. He's just there to kind of be like

505
00:27:54,520 --> 00:27:57,440
Speaker 3: strong and good and punch the bad guy at the end.

506
00:27:57,880 --> 00:28:02,240
Speaker 1: Yeah, and to absolutely conform. So yeah. The other really

507
00:28:02,240 --> 00:28:04,640
Speaker 1: interesting thing that I wasn't up on this particular history

508
00:28:04,680 --> 00:28:06,600
Speaker 1: until I watched that documentary, and a lot of this

509
00:28:06,680 --> 00:28:09,800
Speaker 1: came from his daughter, is that prior to this film,

510
00:28:09,960 --> 00:28:13,320
Speaker 1: he was on the Hollywood Gray List. So we've talked

511
00:28:13,359 --> 00:28:15,879
Speaker 1: about the Blacklist before because it ended up impacting a

512
00:28:15,960 --> 00:28:21,240
Speaker 1: number of different filmmakers and actors, often leading them into

513
00:28:21,280 --> 00:28:23,439
Speaker 1: being in films that we watched in Weird House Cinema,

514
00:28:23,560 --> 00:28:26,040
Speaker 1: or even just completely destroying their career as they were

515
00:28:26,800 --> 00:28:31,600
Speaker 1: at the very least accused of being Communist sympathizers the

516
00:28:31,760 --> 00:28:34,920
Speaker 1: gray List, which I was not familiar with. This is

517
00:28:34,960 --> 00:28:37,480
Speaker 1: a list. You were put on if you were automatically

518
00:28:37,560 --> 00:28:41,160
Speaker 1: you were if you opposed the Nazis before World War Two.

519
00:28:41,840 --> 00:28:45,640
Speaker 1: They interpreted that as being well, they're possibly a communist,

520
00:28:45,880 --> 00:28:47,720
Speaker 1: so let's go ahead and put them on the list.

521
00:28:48,400 --> 00:28:51,120
Speaker 3: Yeah. I think the historical term I've heard used to

522
00:28:51,160 --> 00:28:55,320
Speaker 3: refer to this as premature anti fascist, like that you

523
00:28:55,360 --> 00:28:59,520
Speaker 3: were against the fascists before the US government had essentially

524
00:28:59,560 --> 00:29:02,160
Speaker 3: given mission to be against fascism.

525
00:29:02,440 --> 00:29:07,240
Speaker 1: Yeah. So obviously confusing and illogical in many ways, but

526
00:29:07,920 --> 00:29:09,680
Speaker 1: very much a real thing at the time, to the

527
00:29:09,680 --> 00:29:13,320
Speaker 1: point that Price was apparently very concerned that his career

528
00:29:13,600 --> 00:29:15,680
Speaker 1: was over, that he was never going to work again.

529
00:29:15,760 --> 00:29:19,360
Speaker 1: He'd certainly seen plenty of his contemporaries ruined in Hollywood

530
00:29:19,400 --> 00:29:23,160
Speaker 1: by this point because of the blacklist. But as it

531
00:29:23,200 --> 00:29:25,680
Speaker 1: worked out, he ended up some FBI people came to

532
00:29:25,720 --> 00:29:28,840
Speaker 1: his house, he had to sign some documentation, and after

533
00:29:28,880 --> 00:29:31,920
Speaker 1: that he ended up having his name cleared, And once

534
00:29:31,960 --> 00:29:34,800
Speaker 1: he was cleared, he got offered two projects. One was

535
00:29:34,840 --> 00:29:37,840
Speaker 1: a play and one was House of Wax. He ended

536
00:29:37,880 --> 00:29:40,760
Speaker 1: up going with House of Wax, and it just revitalized

537
00:29:40,800 --> 00:29:44,440
Speaker 1: his career and began his emergence as a new horror Icon.

538
00:29:44,800 --> 00:29:48,200
Speaker 1: Without House of Wax, who's to say we'd be talking

539
00:29:48,240 --> 00:29:49,760
Speaker 1: about Vincent Price today.

540
00:29:50,240 --> 00:29:52,680
Speaker 3: Well, I'm certainly glad we got all of these wonderful

541
00:29:52,800 --> 00:29:55,480
Speaker 3: Vincent Price films because he hit it big with this one.

542
00:29:56,040 --> 00:30:00,280
Speaker 1: Yeah, all right. Our leading lady here is Sue Alan

543
00:30:00,400 --> 00:30:03,040
Speaker 1: or Sue Allen's the character played by Phyllis Kirk, who

544
00:30:03,080 --> 00:30:06,080
Speaker 1: lived nineteen twenty seven three two thousand and six. Her

545
00:30:06,120 --> 00:30:09,880
Speaker 1: other big film from the same year is nineteen fifty

546
00:30:09,880 --> 00:30:12,960
Speaker 1: three's Crime Wave, also directed by de Toaf. She did

547
00:30:12,960 --> 00:30:15,120
Speaker 1: a lot of TV, including an episode of the classic

548
00:30:15,160 --> 00:30:18,320
Speaker 1: Twilight Zone series, and she starred along Peter Lawford on

549
00:30:18,400 --> 00:30:23,480
Speaker 1: TV's The Thin Man. They played Nick and Nora Charles, respectively, investigators.

550
00:30:23,760 --> 00:30:26,240
Speaker 1: This show was based, like the nineteen thirty four film

551
00:30:26,480 --> 00:30:29,120
Speaker 1: on the work of DASHL. Hammett, and the Nick and

552
00:30:29,160 --> 00:30:31,280
Speaker 1: Nora glasses that some of you may have in your

553
00:30:31,320 --> 00:30:35,480
Speaker 1: cupboard are named for these characters. I use my Nick

554
00:30:35,480 --> 00:30:36,800
Speaker 1: and Nora glass just the other night.

555
00:30:37,000 --> 00:30:38,200
Speaker 3: I have no idea what that is.

556
00:30:38,440 --> 00:30:40,560
Speaker 1: Okay, you're familiar with the coop glass, right, Oh?

557
00:30:40,640 --> 00:30:42,480
Speaker 3: Yes, like for cocktails or champagne.

558
00:30:42,560 --> 00:30:45,600
Speaker 1: Yeah, so imagine a coop glass that's a little more

559
00:30:45,680 --> 00:30:48,320
Speaker 1: narrow and a little less spillable, a little more petite,

560
00:30:49,080 --> 00:30:51,000
Speaker 1: and that's a Nick and Nora glass. I'm a big

561
00:30:51,000 --> 00:30:52,560
Speaker 1: fan of them because I found that, Yeah, I find

562
00:30:52,560 --> 00:30:55,680
Speaker 1: they're less spillable than a Coop glass, but they have

563
00:30:55,760 --> 00:30:58,800
Speaker 1: the same feel, and they're great for a like a

564
00:30:58,880 --> 00:31:02,760
Speaker 1: non iced cockedil like it's great for something like a Manhattan.

565
00:31:03,280 --> 00:31:06,160
Speaker 3: Okay, I had no idea what that was called, but

566
00:31:06,520 --> 00:31:08,880
Speaker 3: I've had drinks and restaurants in these Yeah.

567
00:31:09,000 --> 00:31:12,160
Speaker 1: Yeah, nice little glass I like. All right, So that's Sue.

568
00:31:12,240 --> 00:31:15,400
Speaker 1: Sue is our main female character, but then she has

569
00:31:15,440 --> 00:31:20,280
Speaker 1: a friend in the movie named Kathy Kathy Gray. Kathy

570
00:31:20,320 --> 00:31:23,040
Speaker 1: Gray is played by Carolyn Jones, who lived nineteen thirty

571
00:31:23,040 --> 00:31:26,760
Speaker 1: through nineteen eighty three. Her character doesn't stick around long,

572
00:31:26,960 --> 00:31:30,600
Speaker 1: but she gives us the real bubbly, fun loving blonde

573
00:31:30,600 --> 00:31:34,080
Speaker 1: performance as the doomed Kathy, and she would go on

574
00:31:34,200 --> 00:31:37,040
Speaker 1: to play a supporting role in nineteen fifty six is

575
00:31:37,080 --> 00:31:40,000
Speaker 1: Invasion of the Body Snatchers, but he's best well known

576
00:31:40,040 --> 00:31:44,000
Speaker 1: for playing more Titia Adams on TVs. The Adams Family

577
00:31:44,240 --> 00:31:45,680
Speaker 1: in the mid nineteen sixties.

578
00:31:45,920 --> 00:31:48,680
Speaker 3: You know, I almost wish they had swapped the roles here.

579
00:31:49,120 --> 00:31:51,080
Speaker 3: Not that it really would have worked, because I can

580
00:31:51,080 --> 00:31:53,320
Speaker 3: tell what they were going for with the character of Sue,

581
00:31:53,360 --> 00:31:56,920
Speaker 3: and Phyllis Kirk fits that. But Carolyn Jones is so

582
00:31:57,040 --> 00:32:01,040
Speaker 3: much fun and it's sad that her character gets waxed

583
00:32:01,200 --> 00:32:05,240
Speaker 3: too early in this film because she's got great screen presence,

584
00:32:05,280 --> 00:32:08,400
Speaker 3: and it does a very funny combination of kind of yeah,

585
00:32:08,440 --> 00:32:12,200
Speaker 3: like you said, on one hand, this bubbly party girl mentality,

586
00:32:12,200 --> 00:32:16,120
Speaker 3: but she also has a very cynical edge that I liked.

587
00:32:16,800 --> 00:32:19,720
Speaker 1: Yeah, and this movie, at least for the most part,

588
00:32:19,760 --> 00:32:23,600
Speaker 1: I don't know to what extent they You know, certainly

589
00:32:23,600 --> 00:32:25,320
Speaker 1: in the Night By the nineteen eighties we've talked about

590
00:32:25,320 --> 00:32:27,840
Speaker 1: how like the good girl becomes our hero and the

591
00:32:27,840 --> 00:32:30,040
Speaker 1: bad girl is punished. I didn't get that as much

592
00:32:30,080 --> 00:32:34,000
Speaker 1: from this film that that Sue I did. You did, well,

593
00:32:34,560 --> 00:32:37,440
Speaker 1: let's say it wasn't as pronounced, you know, like she was.

594
00:32:37,600 --> 00:32:40,520
Speaker 3: Wait a minute, I'm sorry, maybe I misunderstand you. You mean,

595
00:32:40,600 --> 00:32:43,160
Speaker 3: like you don't get the sense that the movie, the

596
00:32:43,160 --> 00:32:46,760
Speaker 3: ethic of the movie is that, Wow, Kathy really got

597
00:32:46,800 --> 00:32:48,800
Speaker 3: what was coming to her. It's just like it is

598
00:32:48,840 --> 00:32:52,400
Speaker 3: tragic that she was killed, right, Like, oh yeah, yeah,

599
00:32:52,440 --> 00:32:55,760
Speaker 3: totally Okay, it's not that it's like a film of

600
00:32:56,520 --> 00:33:00,600
Speaker 3: vengeful conservative morality like you might perceive in some slash movies.

601
00:33:00,840 --> 00:33:02,720
Speaker 1: Right. There may be. I think there's probably some of

602
00:33:02,720 --> 00:33:06,160
Speaker 1: that leeching in sort of indirectly from the general culture,

603
00:33:06,560 --> 00:33:09,840
Speaker 1: but it's not it's not sharpened in the script to

604
00:33:09,920 --> 00:33:13,560
Speaker 1: the degree that it is in later films. So and

605
00:33:13,600 --> 00:33:14,440
Speaker 1: I appreciated that.

606
00:33:14,920 --> 00:33:16,480
Speaker 3: Yeah, agreed. So.

607
00:33:16,600 --> 00:33:18,280
Speaker 1: Joneses also had a small part in the Man Who

608
00:33:18,360 --> 00:33:20,440
Speaker 1: Knew Too Much from fifty six. She had a small

609
00:33:20,440 --> 00:33:22,880
Speaker 1: part in Fritz Lang's The Big Heat from fifty three,

610
00:33:23,200 --> 00:33:25,680
Speaker 1: and she played Marcia, Queen of Diamonds on the nineteen

611
00:33:25,720 --> 00:33:27,760
Speaker 1: sixties Batman series. Yeah.

612
00:33:27,800 --> 00:33:29,840
Speaker 3: Like I said, Carolyn Jones is great in this. I

613
00:33:29,880 --> 00:33:34,400
Speaker 3: wish her character had been alive longer, and I you know,

614
00:33:34,560 --> 00:33:37,720
Speaker 3: she's almost still kind of funny as a wax figure

615
00:33:37,800 --> 00:33:38,520
Speaker 3: later in the movie.

616
00:33:39,040 --> 00:33:42,400
Speaker 1: Yeah, all right, I'm gonna skip most of the male

617
00:33:42,440 --> 00:33:44,800
Speaker 1: good guys here because again, they're not that interesting. Maybe

618
00:33:44,840 --> 00:33:47,840
Speaker 1: we'll come back to Frank Lovejoy and Paul Piccorini in

619
00:33:47,920 --> 00:33:51,600
Speaker 1: later films, but we'll refer to their characters. But I

620
00:33:51,720 --> 00:33:54,800
Speaker 1: just wasn't that interested, especially when we've got Egor to

621
00:33:54,840 --> 00:33:59,600
Speaker 1: talk about. Igor was played by Charles Bucchinski, who would

622
00:33:59,680 --> 00:34:03,480
Speaker 1: later be known as Charles Bronson, who of nineteen twenty

623
00:34:03,520 --> 00:34:04,920
Speaker 1: one through two thousand and three.

624
00:34:05,360 --> 00:34:08,600
Speaker 3: He made a death wish to be in this horror

625
00:34:08,600 --> 00:34:12,600
Speaker 3: film and it was granted. And wow, his muscles.

626
00:34:12,320 --> 00:34:17,839
Speaker 1: Okay, Yeah, he has a strapping dude in this This

627
00:34:17,920 --> 00:34:21,400
Speaker 1: is Bronson pre mustache and also pre Bronson because he

628
00:34:21,440 --> 00:34:24,439
Speaker 1: didn't start using that name until nineteen fifty four. And yeah,

629
00:34:24,520 --> 00:34:28,040
Speaker 1: he's he's he's very muscular. He doesn't talk, he plays

630
00:34:28,160 --> 00:34:30,040
Speaker 1: his character is supposed to be a death mute. He's

631
00:34:30,080 --> 00:34:33,720
Speaker 1: also extremely grappily. He keeps getting into scrapes with people,

632
00:34:33,880 --> 00:34:36,680
Speaker 1: with the cops, with our heroes, and he goes right

633
00:34:36,719 --> 00:34:37,320
Speaker 1: for the grapple.

634
00:34:37,760 --> 00:34:40,879
Speaker 3: Even in his non threatening scenes in this movie. He's

635
00:34:40,920 --> 00:34:42,600
Speaker 3: one of those people who just has kind of a

636
00:34:42,680 --> 00:34:46,799
Speaker 3: threatening posture like his his arms are always kind of

637
00:34:46,960 --> 00:34:50,080
Speaker 3: bent in such a way, kind of like a wrestler's stance,

638
00:34:50,239 --> 00:34:53,040
Speaker 3: like he might spring out to grab you at any moment.

639
00:34:53,960 --> 00:34:56,560
Speaker 1: Yeah, which is it's interesting because it's a total different

640
00:34:56,600 --> 00:34:59,799
Speaker 1: physical energy compared to what we I think most people

641
00:35:00,160 --> 00:35:03,319
Speaker 1: afy with Charles Bronson from his later career where he's

642
00:35:03,400 --> 00:35:06,600
Speaker 1: kind of a you know, kind of a cool, tough guy, a.

643
00:35:06,560 --> 00:35:09,080
Speaker 3: Guy who will sit there with an expressionless face until

644
00:35:09,120 --> 00:35:11,239
Speaker 3: he suddenly shoots you exactly.

645
00:35:11,400 --> 00:35:13,080
Speaker 1: Yeah. So yeah. He went on to be a big

646
00:35:13,120 --> 00:35:15,680
Speaker 1: action star in the sixties and seventies, especially thanks to

647
00:35:15,680 --> 00:35:17,319
Speaker 1: films like Once Upon a Time in the West, The

648
00:35:17,320 --> 00:35:21,000
Speaker 1: Great Escape, The Magnificent Seven, The Dirty Dozen, The Mechanic,

649
00:35:21,120 --> 00:35:24,719
Speaker 1: and of course the Death Wish franchise. All Right, we

650
00:35:24,800 --> 00:35:29,480
Speaker 1: talked about the ping pong Guy earlier, the paddless Man, Yeah,

651
00:35:29,480 --> 00:35:32,759
Speaker 1: paddleball Man. In the credits, he's referred to as the

652
00:35:32,840 --> 00:35:35,200
Speaker 1: Barker because his job is to be outside of the

653
00:35:35,239 --> 00:35:38,320
Speaker 1: wax Museum, getting people excited bringing him in. He's a

654
00:35:38,360 --> 00:35:42,360
Speaker 1: carnival barker played by Reggie Rymahl who lived nineteen twenty

655
00:35:42,360 --> 00:35:45,160
Speaker 1: one through two thousand and two. He was a stand

656
00:35:45,239 --> 00:35:48,399
Speaker 1: up comedian of the day who specialized in ping pong

657
00:35:48,520 --> 00:35:52,040
Speaker 1: gags with little paddle balls, you know, on the elastic string.

658
00:35:52,480 --> 00:35:55,880
Speaker 1: He performed on The Steve Allen Show, The Eddie Cantor Show,

659
00:35:56,080 --> 00:35:58,879
Speaker 1: and you asked for it, But this is what he's

660
00:35:58,960 --> 00:36:02,439
Speaker 1: best remembered for, and he gets a lot of screen time.

661
00:36:02,760 --> 00:36:08,640
Speaker 3: Yeah, I would say, Reggie Raimol probably has more words

662
00:36:08,840 --> 00:36:13,520
Speaker 3: of dialogue in this movie than like Scott the Sculptor,

663
00:36:13,560 --> 00:36:16,399
Speaker 3: who is ostensibly like the male hero.

664
00:36:17,160 --> 00:36:21,120
Speaker 1: Yeah, so yeah, we'll come back to him in a bit,

665
00:36:21,280 --> 00:36:24,239
Speaker 1: all right. The music on this one is from David Buttoff,

666
00:36:24,280 --> 00:36:27,000
Speaker 1: who lived nineteen oh two through nineteen eighty three, prolific

667
00:36:27,040 --> 00:36:30,319
Speaker 1: composer who also did Hitchcock's Rope in forty eight. The

668
00:36:30,360 --> 00:36:33,640
Speaker 1: Beast from twenty thousand Fathoms and fifty three and nineteen

669
00:36:33,640 --> 00:36:36,319
Speaker 1: thirty nine is the Gorilla all right now. Gordon Bow,

670
00:36:36,560 --> 00:36:39,040
Speaker 1: who lived nineteen oh seven through nineteen seventy five, has

671
00:36:39,120 --> 00:36:43,520
Speaker 1: makeup credit on this, but the fantastic makeup the monster

672
00:36:43,600 --> 00:36:47,080
Speaker 1: makeup that Price is actually wearing is apparently the work

673
00:36:47,239 --> 00:36:50,440
Speaker 1: uncredited of his brother George Bow, who lived nineteen oh

674
00:36:50,520 --> 00:36:53,960
Speaker 1: five through nineteen seventy four. George Bow was a materials

675
00:36:54,040 --> 00:36:57,520
Speaker 1: innovator who developed a bow foam, which was first used

676
00:36:57,719 --> 00:36:59,920
Speaker 1: in nineteen thirty nine s The Hunchback of Notre Dame.

677
00:37:00,960 --> 00:37:03,560
Speaker 1: Gordon Bal his brother worked on a ton of films

678
00:37:03,840 --> 00:37:06,839
Speaker 1: and doing makeup, including It's a Wonderful Life, revel Without

679
00:37:06,840 --> 00:37:10,480
Speaker 1: a Cause, the three D picture dial m for Murder,

680
00:37:10,719 --> 00:37:13,399
Speaker 1: Dirty Harry Them, and the Omega Man just to name

681
00:37:13,440 --> 00:37:13,799
Speaker 1: a few.

682
00:37:14,280 --> 00:37:15,960
Speaker 3: Very solid makeup in this movie.

683
00:37:16,280 --> 00:37:19,680
Speaker 1: Absolutely, and I love the Yeah, the coloration. It has

684
00:37:19,719 --> 00:37:23,719
Speaker 1: this kind of a purplish effect, so the purples and

685
00:37:23,800 --> 00:37:25,920
Speaker 1: pinks that kind of match up with the pink wax

686
00:37:25,960 --> 00:37:30,719
Speaker 1: we see later. So it's grotesque but also grotesque in

687
00:37:30,719 --> 00:37:32,360
Speaker 1: a way. And I don't know how much of this

688
00:37:32,480 --> 00:37:35,480
Speaker 1: was intended, but it like it doesn't feel completely realistic.

689
00:37:35,520 --> 00:37:39,600
Speaker 1: I think they were maybe going for realism, but like

690
00:37:39,640 --> 00:37:42,839
Speaker 1: it doesn't feel I don't know. Somehow it doesn't feel

691
00:37:42,840 --> 00:37:45,080
Speaker 1: as exploitive. I don't know if that makes sense. Like

692
00:37:45,120 --> 00:37:49,880
Speaker 1: it's a different energy than say a Freddy Krueger makeup. Yeah, anyway.

693
00:37:49,920 --> 00:37:53,880
Speaker 1: Final note, Robert Burks, who lived nineteen oh nine through

694
00:37:53,920 --> 00:37:58,319
Speaker 1: nineteen sixty eight, Hitchcock's favorite cinematographer, worked on this picture uncredited,

695
00:37:58,600 --> 00:38:01,920
Speaker 1: along with the credited cinemaographers Burke Glennon who lived eighteen

696
00:38:01,960 --> 00:38:06,520
Speaker 1: ninety three through nineteen sixty seven, and Jay Peverell Marley

697
00:38:06,560 --> 00:38:08,600
Speaker 1: who lived nineteen oh one through nineteen sixty four.

698
00:38:17,360 --> 00:38:19,600
Speaker 3: All Right, are we ready to talk about the plot.

699
00:38:20,080 --> 00:38:21,200
Speaker 1: Yeah, let's get into it.

700
00:38:21,480 --> 00:38:23,480
Speaker 3: So I really love the title shot. It really lets

701
00:38:23,480 --> 00:38:25,400
Speaker 3: you know what kind of movie it's going to be.

702
00:38:25,480 --> 00:38:29,600
Speaker 3: So you have a background that's a damp, dismal street

703
00:38:29,640 --> 00:38:32,000
Speaker 3: corner in New York around the turn of the century.

704
00:38:32,120 --> 00:38:36,200
Speaker 3: There are rain soaked cobblestones and bricks that are reflecting

705
00:38:36,200 --> 00:38:38,880
Speaker 3: the kind of measly light from a pair of street lamps.

706
00:38:39,080 --> 00:38:42,440
Speaker 3: The scene is very dark blue and gray. But then

707
00:38:42,480 --> 00:38:45,960
Speaker 3: in the foreground here comes the title House of Wax

708
00:38:46,080 --> 00:38:51,160
Speaker 3: in huge, shrieking orange block letter. Is like, uh, I

709
00:38:51,160 --> 00:38:52,960
Speaker 3: don't know how to describe this. Like the letters have

710
00:38:53,040 --> 00:38:55,560
Speaker 3: the their blocks that have these big amount of that

711
00:38:55,640 --> 00:38:58,400
Speaker 3: have depth, like their stamps jutting out of the screen,

712
00:38:59,040 --> 00:39:01,279
Speaker 3: and the texture on the front of the letters is

713
00:39:01,320 --> 00:39:04,200
Speaker 3: that of melting wax. So the title itself is dripping.

714
00:39:04,920 --> 00:39:07,759
Speaker 1: Yeah. Yeah, I love these even watching these and two

715
00:39:07,840 --> 00:39:08,840
Speaker 1: D they jump out at you.

716
00:39:09,120 --> 00:39:12,480
Speaker 3: Also, they put the title in quotation marks, which I

717
00:39:12,560 --> 00:39:15,440
Speaker 3: found funny. I'm not sure why, but it's the so

718
00:39:15,560 --> 00:39:17,200
Speaker 3: called House of Wax.

719
00:39:17,880 --> 00:39:19,799
Speaker 1: Yeah, I mean, when you're using House of Wax fat,

720
00:39:20,040 --> 00:39:25,640
Speaker 1: you can disregard some of the other rules regarding punctuation, but.

721
00:39:25,600 --> 00:39:28,880
Speaker 3: The title of a movie is usually underlined or italicized anyway,

722
00:39:28,960 --> 00:39:30,520
Speaker 3: rather than putting quotation marks.

723
00:39:30,560 --> 00:39:33,440
Speaker 1: This isn't a poem, yeah, I mean, generally you can

724
00:39:33,520 --> 00:39:35,279
Speaker 1: just throw the words up there. You don't need to

725
00:39:35,280 --> 00:39:39,320
Speaker 1: worry about anything else, especially if you're using gimmicky letters

726
00:39:39,360 --> 00:39:40,560
Speaker 1: like this. I mean, come on.

727
00:39:41,160 --> 00:39:44,160
Speaker 3: Anyway, As the credits fade in and out, we watch

728
00:39:44,520 --> 00:39:47,560
Speaker 3: the silhouette of a lonely man tramping up the sidewalk

729
00:39:47,600 --> 00:39:50,520
Speaker 3: in the rain. And by the way, just throughout the movie,

730
00:39:50,640 --> 00:39:54,239
Speaker 3: I do love the nighttime shots of the streets here,

731
00:39:55,000 --> 00:40:01,000
Speaker 3: the lonely dark, often foggy, often wet with rain, New

732
00:40:01,080 --> 00:40:03,520
Speaker 3: York streets around the turn of the century. It's I

733
00:40:03,520 --> 00:40:07,280
Speaker 3: guess these were probably all indoor shots inside a studio,

734
00:40:07,719 --> 00:40:09,040
Speaker 3: but they're fantastic.

735
00:40:09,280 --> 00:40:11,600
Speaker 1: Yeah, and a lot of these shots apparently you really

736
00:40:11,640 --> 00:40:13,319
Speaker 1: got a sense of that depth when you were watching

737
00:40:13,360 --> 00:40:13,920
Speaker 1: it in three D.

738
00:40:14,960 --> 00:40:17,920
Speaker 3: Anyway, we move inside one of the windows into a

739
00:40:18,200 --> 00:40:21,719
Speaker 3: brightly lit interior to immediately see a shadow cast upon

740
00:40:21,760 --> 00:40:23,920
Speaker 3: a wall, and it is the shadow of a woman

741
00:40:23,960 --> 00:40:26,760
Speaker 3: wearing a bonnet with a knife raised in her hand,

742
00:40:26,880 --> 00:40:30,120
Speaker 3: ready to strike. So who's she about to stab? Nobody?

743
00:40:30,239 --> 00:40:32,520
Speaker 3: Turns out, We pan over to discover this is not

744
00:40:32,600 --> 00:40:35,279
Speaker 3: a living woman about to commit a murder, but a

745
00:40:35,320 --> 00:40:39,040
Speaker 3: wax sculpture of a woman wearing the bonnet again and

746
00:40:39,080 --> 00:40:43,880
Speaker 3: doing the knife delivery pose. The camera reveals the rest

747
00:40:43,880 --> 00:40:47,040
Speaker 3: of the room slowly, and it is full of humanoid

748
00:40:47,120 --> 00:40:50,960
Speaker 3: wax sculptures. We see a kind of master of ceremonies

749
00:40:51,040 --> 00:40:54,000
Speaker 3: dude wearing a top hat in tails. There's a choir

750
00:40:54,120 --> 00:40:57,920
Speaker 3: mistress in red and black tartan. There is a policeman

751
00:40:58,000 --> 00:41:01,440
Speaker 3: and a bobby helmet. We see clear Apatra and Mark Antony,

752
00:41:01,719 --> 00:41:04,080
Speaker 3: a fancy lady that I think is supposed to be

753
00:41:04,160 --> 00:41:08,440
Speaker 3: Marie Antoinette. Oh yeah, this is Marie Antoinette. A scene

754
00:41:08,440 --> 00:41:12,200
Speaker 3: of the assassination of Abraham Lincoln and then Joan of

755
00:41:12,320 --> 00:41:16,719
Speaker 3: arc at the stake, and of the historical figures depicted.

756
00:41:17,440 --> 00:41:20,120
Speaker 3: I was noticing immediately that it seems like they're all

757
00:41:20,280 --> 00:41:25,359
Speaker 3: people associated with tragic and untimely deaths. And I think

758
00:41:25,400 --> 00:41:29,520
Speaker 3: this says something about the cultural understanding of the purpose

759
00:41:29,680 --> 00:41:33,120
Speaker 3: of a wax museum, that it is not for effigies

760
00:41:33,160 --> 00:41:37,680
Speaker 3: of just any famous person, but there's a particular spirit

761
00:41:37,760 --> 00:41:42,960
Speaker 3: of morbid curiosity that we associate with wax. There's kind

762
00:41:42,960 --> 00:41:46,040
Speaker 3: of a focus on not just in the chamber of

763
00:41:46,120 --> 00:41:49,000
Speaker 3: horror since though that will become a theme in the

764
00:41:49,000 --> 00:41:51,560
Speaker 3: movie itself, where you know, you have wax figures for

765
00:41:52,000 --> 00:41:55,200
Speaker 3: scenes of torture and execution and all that, but even

766
00:41:55,560 --> 00:41:59,520
Speaker 3: when you're not showing torture and execution, you're showing figures

767
00:41:59,600 --> 00:42:02,640
Speaker 3: that we remember for the fact that they died young

768
00:42:02,719 --> 00:42:03,480
Speaker 3: and tragically.

769
00:42:04,200 --> 00:42:07,600
Speaker 1: Yeah, with their flesh made hole again and lifelike.

770
00:42:07,920 --> 00:42:10,200
Speaker 3: So finally we arrived at the end of the Great Hall,

771
00:42:10,480 --> 00:42:13,160
Speaker 3: and we come to a place that functions as a workshop,

772
00:42:13,200 --> 00:42:17,440
Speaker 3: and here is Vincent Price as the character Professor Henry Jared.

773
00:42:17,480 --> 00:42:20,960
Speaker 3: He's dressed in a long smock, surrounded by half finished

774
00:42:21,000 --> 00:42:24,959
Speaker 3: wax bodies, arms and heads, and he's deep in his work.

775
00:42:25,000 --> 00:42:28,040
Speaker 3: He's using his fingers to shape the contours of a

776
00:42:28,080 --> 00:42:31,240
Speaker 3: sort of wax of venus on a stand before him.

777
00:42:31,520 --> 00:42:34,080
Speaker 1: Yeah, this is essentially the same character played by Atwell

778
00:42:34,120 --> 00:42:37,759
Speaker 1: in the original, though that character in the original was

779
00:42:37,880 --> 00:42:41,600
Speaker 1: named Ivan Igor, and there was also just again a

780
00:42:41,600 --> 00:42:44,400
Speaker 1: lot more of a necrophilia vibe to his obsession with

781
00:42:44,480 --> 00:42:50,080
Speaker 1: wax bodies and Vincent prizes. Henry Jared comes off more innocent,

782
00:42:50,560 --> 00:42:57,160
Speaker 1: eccentric certainly, but more innocent in his connection to his work. Initially, yes, yeah,

783
00:42:57,200 --> 00:43:02,759
Speaker 1: I mean it becomes perverse obviously in Murder beginning, yeah yeah.

784
00:43:02,800 --> 00:43:05,719
Speaker 1: But in the beginning, it's just about a man who

785
00:43:06,640 --> 00:43:09,960
Speaker 1: is pouring all of his being into these creations and

786
00:43:10,480 --> 00:43:14,160
Speaker 1: loves them and has this kind of eccentric relationship with them.

787
00:43:14,200 --> 00:43:16,839
Speaker 1: He sees them as his friends, he sees them as

788
00:43:17,239 --> 00:43:17,920
Speaker 1: his family.

789
00:43:18,440 --> 00:43:22,080
Speaker 3: So somebody comes in from the rain. It is Matthew Burke,

790
00:43:22,239 --> 00:43:25,040
Speaker 3: Jared's business partner, and as soon as he's in the door,

791
00:43:25,280 --> 00:43:29,480
Speaker 3: they're at odds about their business situation. So they run

792
00:43:29,640 --> 00:43:34,160
Speaker 3: a wax museum together, and Matthew Burke is not happy

793
00:43:34,239 --> 00:43:37,160
Speaker 3: with recent ticket returns. He says that, hey, you know

794
00:43:37,200 --> 00:43:40,360
Speaker 3: the other wax museums in town. They've got lines around

795
00:43:40,360 --> 00:43:43,800
Speaker 3: the block. What's the difference. They've got a chamber of horrors,

796
00:43:43,880 --> 00:43:47,880
Speaker 3: so all of their sculptures are about murder, torture, and execution,

797
00:43:48,840 --> 00:43:51,560
Speaker 3: and Jared is not interested in that. He says he'd

798
00:43:51,640 --> 00:43:55,799
Speaker 3: rather spend his time depicting beauty and figures of historical significance.

799
00:43:55,800 --> 00:44:01,000
Speaker 3: He's not going to stoop to slopping out wax gore, which, again,

800
00:44:01,320 --> 00:44:03,520
Speaker 3: remembering what we just said, it's kind of funny because

801
00:44:03,560 --> 00:44:06,040
Speaker 3: while this. The stuff in his museum is not gory.

802
00:44:06,160 --> 00:44:10,400
Speaker 3: It is very focused on people with tragic deaths.

803
00:44:10,920 --> 00:44:14,480
Speaker 1: Yeah, but he's not pushing it the way his business

804
00:44:14,480 --> 00:44:16,759
Speaker 1: partner thinks he should be pushing it, like the gore

805
00:44:16,800 --> 00:44:19,040
Speaker 1: should be front and center, and he's like, no, no, no,

806
00:44:19,080 --> 00:44:21,080
Speaker 1: the beauty should be front and center, even if I'm

807
00:44:21,120 --> 00:44:25,680
Speaker 1: focusing on martyred individuals and tragic figures.

808
00:44:25,960 --> 00:44:28,080
Speaker 3: Yeah. So I guess Matthew here would say like, look,

809
00:44:28,120 --> 00:44:30,400
Speaker 3: I want that Joan of Arc to be half burned alive,

810
00:44:30,520 --> 00:44:32,520
Speaker 3: you know. I want to see her muscle. I want

811
00:44:32,520 --> 00:44:35,560
Speaker 3: to see the blood. So Matthew is not happy. He says,

812
00:44:35,600 --> 00:44:38,399
Speaker 3: I've got twenty thousand dollars sunk in this historic peep

813
00:44:38,400 --> 00:44:40,200
Speaker 3: show of yours, and I could use that money to

814
00:44:40,239 --> 00:44:43,480
Speaker 3: better advantage. But Vincent Price has an ace up his

815
00:44:43,560 --> 00:44:46,600
Speaker 3: sleeve here. He says, well, there's a wealthy investor named

816
00:44:46,600 --> 00:44:50,319
Speaker 3: Sidney Wallace. He's about to come by, and Jared is

817
00:44:50,320 --> 00:44:52,920
Speaker 3: hoping that mister moneybags here might be willing to buy

818
00:44:53,000 --> 00:44:55,719
Speaker 3: out Matthew's share of the museum, and this would free

819
00:44:55,800 --> 00:44:59,440
Speaker 3: Jared from having to turn the place into hell Raiser

820
00:44:59,480 --> 00:45:03,239
Speaker 3: two keep Matthew happy. So Wallace and this other guy

821
00:45:03,280 --> 00:45:06,239
Speaker 3: named Bruce show up and Jared starts giving them a

822
00:45:06,320 --> 00:45:09,080
Speaker 3: tour of his artworks. But in doing so he does

823
00:45:09,120 --> 00:45:12,560
Speaker 3: start making these eccentric comments, like he calls his sculptures

824
00:45:12,600 --> 00:45:15,960
Speaker 3: his children, and he says, to you they are wax,

825
00:45:16,080 --> 00:45:19,480
Speaker 3: but to me their creator, they live and breathe. He

826
00:45:19,560 --> 00:45:22,000
Speaker 3: explains a bit about how he makes them. He presses

827
00:45:22,040 --> 00:45:24,479
Speaker 3: the hair into the wax heads with a scalpel, one

828
00:45:24,640 --> 00:45:28,040
Speaker 3: hair at a time, he says, and they're they're like

829
00:45:28,080 --> 00:45:31,200
Speaker 3: looking at the Cleopatra scene and I think it's Bruce

830
00:45:31,200 --> 00:45:34,480
Speaker 3: who's getting a little too excited about the Cleopatra sculpture.

831
00:45:35,520 --> 00:45:38,640
Speaker 3: And then Jared shows off the Lincoln assassination scene. He says,

832
00:45:38,880 --> 00:45:41,840
Speaker 3: he calls it quote one of my few concessions to

833
00:45:41,920 --> 00:45:45,279
Speaker 3: the macabre. And then Wallace looks at it. He says,

834
00:45:45,280 --> 00:45:47,760
Speaker 3: why is the best John Wilkes booth I've ever seen?

835
00:45:47,880 --> 00:45:50,239
Speaker 3: And it's like, what, how many is he seen? Or

836
00:45:50,280 --> 00:45:54,479
Speaker 3: there are there like assassin waxes all over the town.

837
00:45:54,560 --> 00:45:57,000
Speaker 3: I guess maybe all the museums have a booth.

838
00:45:57,680 --> 00:46:00,600
Speaker 1: Yeah, he travel around. You go to New City, you

839
00:46:00,600 --> 00:46:02,440
Speaker 1: want to see whether John Wilkes booth looks like at

840
00:46:02,440 --> 00:46:03,560
Speaker 1: their local wax museum.

841
00:46:03,880 --> 00:46:07,640
Speaker 3: Oh. But but then in explaining the scene, Jared gets into, oh,

842
00:46:07,680 --> 00:46:10,640
Speaker 3: the booth sculpture was very stubborn. I kept arguing with

843
00:46:10,719 --> 00:46:14,080
Speaker 3: him while he was being crafted, and he didn't want

844
00:46:14,120 --> 00:46:16,359
Speaker 3: to do what I wanted him to do. And they're like,

845
00:46:16,400 --> 00:46:18,479
Speaker 3: do you mean he talked back to you? And he says,

846
00:46:18,520 --> 00:46:22,440
Speaker 3: of course, what do you expect from an actor? And

847
00:46:22,480 --> 00:46:26,520
Speaker 3: then finally onto Joan of Arc, Jared's well, i'd say

848
00:46:27,360 --> 00:46:30,600
Speaker 3: one of his two favorite subjects. Marie Antoinette and Joan

849
00:46:30,640 --> 00:46:31,760
Speaker 3: of Arc are his favorites.

850
00:46:31,800 --> 00:46:32,080
Speaker 1: I think.

851
00:46:32,560 --> 00:46:35,359
Speaker 3: He says that he has remade the scene many times now,

852
00:46:35,400 --> 00:46:38,440
Speaker 3: and he explains the reason there is no authentic portrait

853
00:46:38,480 --> 00:46:41,160
Speaker 3: of Joan, so he has to work from living models

854
00:46:41,200 --> 00:46:43,600
Speaker 3: and he's never found the model to give him the

855
00:46:43,640 --> 00:46:46,359
Speaker 3: perfect face of the saint, but he's sure he will

856
00:46:46,400 --> 00:46:50,000
Speaker 3: one day. Oh and also just they also have a

857
00:46:50,040 --> 00:46:53,640
Speaker 3: conversation about the Marie Antoinette figure and at one point

858
00:46:53,800 --> 00:46:56,520
Speaker 3: he's he's saying that her eyes are made of glass,

859
00:46:56,600 --> 00:46:59,960
Speaker 3: and he says, the exact size and color of the original.

860
00:47:02,400 --> 00:47:04,680
Speaker 1: I guess the same size as the original eyes or

861
00:47:04,719 --> 00:47:07,439
Speaker 1: just sort of human eyes. I don't know, I don't

862
00:47:06,880 --> 00:47:09,040
Speaker 1: know comment that was odd.

863
00:47:09,200 --> 00:47:12,880
Speaker 3: But anyway, after the tour, Walla Wallace is interested in

864
00:47:12,920 --> 00:47:15,319
Speaker 3: buying out Matthew's stake in the museum, but first he

865
00:47:15,360 --> 00:47:18,480
Speaker 3: has to go do excavations in Egypt for three months,

866
00:47:19,120 --> 00:47:21,200
Speaker 3: so he's going to be off grave robbing. But when

867
00:47:21,239 --> 00:47:25,400
Speaker 3: he returns he will be perhaps willing to invest in

868
00:47:25,400 --> 00:47:29,000
Speaker 3: the museum. So Wallace and Bruce leave and Jared gets

869
00:47:29,000 --> 00:47:31,400
Speaker 3: back to talking to the wax babies. He's you know,

870
00:47:31,520 --> 00:47:34,719
Speaker 3: oh Marie Antoinette, my beloved, did you hear them acknowledge

871
00:47:34,719 --> 00:47:38,640
Speaker 3: your beauty? And meanwhile, Matthew, the business partner, has been

872
00:47:38,719 --> 00:47:41,440
Speaker 3: lurking around this whole time, and he comes out of

873
00:47:41,880 --> 00:47:45,320
Speaker 3: an adjacent room and Jared expects him to be happy,

874
00:47:45,360 --> 00:47:48,080
Speaker 3: but he's like, sorry, I can't wait three months. I

875
00:47:48,160 --> 00:47:52,040
Speaker 3: need money now. So his plan is that the Wax

876
00:47:52,160 --> 00:47:55,280
Speaker 3: Museum is insured for twenty five thousand dollars. He says,

877
00:47:55,360 --> 00:47:58,560
Speaker 3: let's burn it down and claim the insurance check. Of course,

878
00:47:58,640 --> 00:48:02,760
Speaker 3: Jared is scandalized. He's like, burn my children alive. That's murder.

879
00:48:02,760 --> 00:48:05,360
Speaker 3: I won't do it, and I'll kill you if you try.

880
00:48:05,360 --> 00:48:08,320
Speaker 3: But Matthew does not stop to discuss. He just starts

881
00:48:08,400 --> 00:48:10,680
Speaker 3: lighting matches and setting wax people on fire.

882
00:48:11,200 --> 00:48:13,279
Speaker 1: This is pretty much exactly how it goes down in

883
00:48:13,320 --> 00:48:16,240
Speaker 1: the original film as well. It is not premeditated Arson.

884
00:48:16,360 --> 00:48:19,319
Speaker 1: It's just like, hey, let's do Arson. I think that's

885
00:48:19,320 --> 00:48:20,160
Speaker 1: the way to go. Let's do it.

886
00:48:20,200 --> 00:48:22,760
Speaker 3: I'm doing it now, no time to argue. Yeah.

887
00:48:22,840 --> 00:48:23,320
Speaker 1: Yeah.

888
00:48:23,360 --> 00:48:25,759
Speaker 3: So they get into a fistfight, but Vincent Price is

889
00:48:25,800 --> 00:48:30,080
Speaker 3: bested and he gets knocked out I think twice in

890
00:48:30,080 --> 00:48:30,800
Speaker 3: this sequence.

891
00:48:31,480 --> 00:48:34,880
Speaker 1: Yeah, there's a lot of punching going on. And I

892
00:48:34,920 --> 00:48:37,240
Speaker 1: believe it was Wes Craven in the documentary who pointed

893
00:48:37,239 --> 00:48:39,600
Speaker 1: out that it looks like Vincent Price is doing a

894
00:48:39,640 --> 00:48:42,480
Speaker 1: lot of his own stunts and also doing them really

895
00:48:42,520 --> 00:48:44,840
Speaker 1: close to open flames. So Craven was kind of like

896
00:48:44,880 --> 00:48:47,040
Speaker 1: he was like flinching a little. It's like, Oh, it's

897
00:48:47,080 --> 00:48:49,640
Speaker 1: a director, you know this is You're kind of like, wow,

898
00:48:49,680 --> 00:48:51,640
Speaker 1: they really they were really going for it here.

899
00:48:51,960 --> 00:48:55,439
Speaker 3: There is another scene later in the movie where where

900
00:48:55,480 --> 00:48:58,120
Speaker 3: the Vincent Price character does like a swing on a

901
00:48:58,200 --> 00:49:00,919
Speaker 3: rope across an alleyway top and it looks like it's

902
00:49:00,920 --> 00:49:01,399
Speaker 3: really him.

903
00:49:01,760 --> 00:49:03,560
Speaker 1: Yeah, I wonder how much of that is just sort

904
00:49:03,600 --> 00:49:05,640
Speaker 1: of this is just how you did it at the time,

905
00:49:05,719 --> 00:49:08,000
Speaker 1: and how much of it too is just like Price

906
00:49:08,360 --> 00:49:12,239
Speaker 1: coming out of this grayless scare, realizing that this is

907
00:49:12,719 --> 00:49:15,040
Speaker 1: perhaps his big chance to get back on top of

908
00:49:15,080 --> 00:49:17,520
Speaker 1: things and just going just all in on it, just

909
00:49:17,600 --> 00:49:18,680
Speaker 1: doing everything he can.

910
00:49:18,880 --> 00:49:20,880
Speaker 3: Well, he does really go for it. But so in

911
00:49:20,920 --> 00:49:24,000
Speaker 3: this scene, Matthew Knock's Jared unconscious leaves him for dead

912
00:49:24,040 --> 00:49:27,439
Speaker 3: as the Palace of Wax burns, and we here get

913
00:49:27,480 --> 00:49:29,680
Speaker 3: to see this is something that I think is common

914
00:49:29,760 --> 00:49:33,799
Speaker 3: to most wax horror movies. There is the Palace of

915
00:49:33,840 --> 00:49:36,400
Speaker 3: Wax burns, and we watch all of the wax figures

916
00:49:36,440 --> 00:49:40,279
Speaker 3: burning and melting in a revolting manner, and it really

917
00:49:40,320 --> 00:49:43,880
Speaker 3: does look gross. Presumably I was thinking about why this is,

918
00:49:43,920 --> 00:49:46,400
Speaker 3: and I think it's because the sort of fat like

919
00:49:46,560 --> 00:49:51,040
Speaker 3: composition of wax somewhat resembles what we imagine it would

920
00:49:51,040 --> 00:49:54,600
Speaker 3: look like for flesh and adipose tissue to burn. But

921
00:49:54,640 --> 00:49:58,080
Speaker 3: we get horrifying shots of wax faces kind of softening

922
00:49:58,120 --> 00:50:01,719
Speaker 3: and then scorching and trickling away down the chin of

923
00:50:01,760 --> 00:50:04,560
Speaker 3: the mold, and it just makes me think about how

924
00:50:04,680 --> 00:50:07,760
Speaker 3: there's a reason wax museums keep occurring as a setting

925
00:50:07,760 --> 00:50:10,920
Speaker 3: for horror movies, and those movies always involve a tragic

926
00:50:10,960 --> 00:50:14,640
Speaker 3: inferno where the wax faces milt. It's just an inherently

927
00:50:14,760 --> 00:50:17,160
Speaker 3: disgusting and disturbing visual texture.

928
00:50:17,680 --> 00:50:18,000
Speaker 1: Yeah.

929
00:50:18,000 --> 00:50:21,520
Speaker 3: Absolutely, So the museum burns. We see Price wake up

930
00:50:21,520 --> 00:50:24,320
Speaker 3: and run through an interior doorway, though it's not initially

931
00:50:24,360 --> 00:50:27,680
Speaker 3: clear whether he dies in the fire or escapes. And

932
00:50:27,719 --> 00:50:31,920
Speaker 3: then the fire department arrives. A horse drawn fire engine

933
00:50:31,960 --> 00:50:34,200
Speaker 3: comes clattering up the street to put out the blaze.

934
00:50:34,239 --> 00:50:36,640
Speaker 3: And I thought this was a very cool historical set piece.

935
00:50:37,160 --> 00:50:40,239
Speaker 1: Yeah, it really drives home the historic gothic feel of

936
00:50:40,280 --> 00:50:40,720
Speaker 1: the picture.

937
00:50:41,120 --> 00:50:44,759
Speaker 3: So later I guess this is taken to be weeks later,

938
00:50:44,880 --> 00:50:48,200
Speaker 3: we are at some I don't know. The setting here

939
00:50:48,320 --> 00:50:52,719
Speaker 3: is horrible. It's like this insipid promenade where this repetitive

940
00:50:52,800 --> 00:50:55,480
Speaker 3: music is playing. We see a banner somewhere that says

941
00:50:56,400 --> 00:51:01,080
Speaker 3: Weber's Hoffbrow And Matthew Burke is there, the scheming business

942
00:51:01,080 --> 00:51:04,160
Speaker 3: partner who set fire to the wax museum. He is

943
00:51:04,200 --> 00:51:08,720
Speaker 3: there with his fiance talking about his dear departed friend,

944
00:51:08,800 --> 00:51:12,600
Speaker 3: Professor Jared and his fiance. Here is Carolyn Jones playing

945
00:51:12,680 --> 00:51:16,880
Speaker 3: Kathy Gray. Now Matthew is describing his dear departed friend,

946
00:51:16,960 --> 00:51:19,120
Speaker 3: Professor Jared. He says, you know, oh, he was a

947
00:51:19,160 --> 00:51:22,359
Speaker 3: great artist. Only I could understand him. We were like this,

948
00:51:23,239 --> 00:51:26,840
Speaker 3: And his fiance says, did they ever find him after

949
00:51:26,880 --> 00:51:30,560
Speaker 3: the fire? And she's doing I would call it a

950
00:51:30,600 --> 00:51:33,080
Speaker 3: Betty Boop voice, very much a baby voice.

951
00:51:33,560 --> 00:51:34,080
Speaker 1: I agree.

952
00:51:34,400 --> 00:51:36,719
Speaker 3: Matthew says, nope, no sign of him. Place went up

953
00:51:36,760 --> 00:51:40,680
Speaker 3: like a volcano. Maybe he was reduced to unrecognizable ash.

954
00:51:40,920 --> 00:51:43,000
Speaker 3: And he says, if only I had been there, I

955
00:51:43,080 --> 00:51:47,480
Speaker 3: might have saved him. And Carolyn Jones says, oh, but Maddie,

956
00:51:47,520 --> 00:51:50,839
Speaker 3: then you might have been burned up too. So at

957
00:51:51,040 --> 00:51:53,800
Speaker 3: very first, it seems like this character played by Carolyn

958
00:51:53,880 --> 00:51:56,200
Speaker 3: Jones is supposed to be kind of naive and dumb.

959
00:51:56,400 --> 00:51:59,480
Speaker 3: But then she looks away from Maddie and she kind

960
00:51:59,480 --> 00:52:02,120
Speaker 3: of gets a twinkle in her eye, and she says,

961
00:52:02,400 --> 00:52:05,799
Speaker 3: was there any insurance on the place? So I think

962
00:52:05,800 --> 00:52:09,279
Speaker 3: she's actually angling for that sweet cash, just as much

963
00:52:09,280 --> 00:52:10,080
Speaker 3: as Matthew is.

964
00:52:11,560 --> 00:52:14,440
Speaker 1: Of course, it worth mentioning she does not know the

965
00:52:14,520 --> 00:52:17,040
Speaker 1: true horror of what happened there. She doesn't know that

966
00:52:17,040 --> 00:52:18,760
Speaker 1: that he's a murderer, right.

967
00:52:18,640 --> 00:52:21,120
Speaker 3: She doesn't know about that, But she does want the money,

968
00:52:21,400 --> 00:52:24,640
Speaker 3: and Matthew's like, well, there's a problem. The insurance was

969
00:52:24,680 --> 00:52:27,760
Speaker 3: hesitant to pay out because they couldn't verify whether Jared

970
00:52:27,880 --> 00:52:31,040
Speaker 3: was alive or dead, and Cathy says, yeah, they always

971
00:52:31,120 --> 00:52:36,520
Speaker 3: want a corpse giggle. But then it seems like the

972
00:52:36,920 --> 00:52:39,920
Speaker 3: insurance check finally just came through today. So Matthew is

973
00:52:40,120 --> 00:52:43,400
Speaker 3: he has possession of the money, and Kathy is positively

974
00:52:43,560 --> 00:52:47,439
Speaker 3: cooing and twittering about this, and he says, where would

975
00:52:47,440 --> 00:52:49,480
Speaker 3: you like to go? Atlantic City? But she wants to

976
00:52:49,520 --> 00:52:52,360
Speaker 3: go to Niagara Falls to get married. She says, you know,

977
00:52:52,680 --> 00:52:56,600
Speaker 3: make it legitimate, and I laughed out loud at Matthew's

978
00:52:56,640 --> 00:52:59,600
Speaker 3: reaction to this. He gets very kind of somber and

979
00:52:59,640 --> 00:53:03,760
Speaker 3: he's like, check please. Yeah. But later that night, Matthew

980
00:53:03,840 --> 00:53:07,120
Speaker 3: returns to his office alone and we see him go

981
00:53:07,200 --> 00:53:11,319
Speaker 3: into this lonely building, this empty office at night, and

982
00:53:11,400 --> 00:53:15,319
Speaker 3: retrieve some money from his safe. But as he's doing so,

983
00:53:15,760 --> 00:53:19,360
Speaker 3: a black gloved hand reaches up over the back of

984
00:53:19,400 --> 00:53:23,000
Speaker 3: the sofa in his office, and a shadowy figure emerges,

985
00:53:23,440 --> 00:53:26,200
Speaker 3: a man dressed in all black with a wide brimmed

986
00:53:26,239 --> 00:53:30,800
Speaker 3: black hat and a face scarred beyond recognition and I

987
00:53:30,840 --> 00:53:33,200
Speaker 3: don't know if there's supposed to be any mystery about

988
00:53:33,200 --> 00:53:35,520
Speaker 3: who it is at this point, but obviously it's Jared.

989
00:53:35,560 --> 00:53:36,360
Speaker 3: Who else would it be?

990
00:53:37,040 --> 00:53:42,120
Speaker 1: Yeah, and it man Again. The makeup is just impressive.

991
00:53:42,800 --> 00:53:45,640
Speaker 1: They do some great stuff with not only you know,

992
00:53:45,760 --> 00:53:49,520
Speaker 1: layering on too Vincent Price's face, but also keeping Vincent

993
00:53:49,520 --> 00:53:53,840
Speaker 1: Price recognizable through the makeup, but also distorting his natural

994
00:53:53,880 --> 00:53:56,080
Speaker 1: features a little bit, like pulling his lip down on

995
00:53:56,080 --> 00:53:58,239
Speaker 1: one side I think he has later we see that

996
00:53:58,280 --> 00:53:59,880
Speaker 1: in like one of his ears, this kind of pin

997
00:54:00,160 --> 00:54:03,480
Speaker 1: back as well. Great makeup. You can't fault them for

998
00:54:03,560 --> 00:54:06,640
Speaker 1: showing it a lot. And early in the picture, right.

999
00:54:07,160 --> 00:54:09,760
Speaker 3: So he creeps up on Matthew, he dims the lamp

1000
00:54:09,800 --> 00:54:12,320
Speaker 3: on the wall, and then he pounces and strangles Matthew

1001
00:54:12,360 --> 00:54:14,719
Speaker 3: with the length of rope, and then we see the

1002
00:54:14,760 --> 00:54:17,120
Speaker 3: figure creeping away from the scene of the crime. You

1003
00:54:17,160 --> 00:54:20,160
Speaker 3: think he's running away, but no, he is staging a

1004
00:54:20,239 --> 00:54:23,640
Speaker 3: crime scene. Instead, he secures a rope to an elevator

1005
00:54:23,680 --> 00:54:26,879
Speaker 3: shaft and then drops Matthew's body to make it look

1006
00:54:27,000 --> 00:54:31,480
Speaker 3: like a suicide. So you would think at this point, okay,

1007
00:54:31,960 --> 00:54:36,160
Speaker 3: Vincent Price's revenge checklist complete, Like it seems like, this

1008
00:54:36,280 --> 00:54:38,640
Speaker 3: revenge plot would have taken the whole movie, but no,

1009
00:54:38,840 --> 00:54:41,640
Speaker 3: it is done within twenty minutes. So what is the

1010
00:54:41,640 --> 00:54:43,640
Speaker 3: rest of the drama going to consist of?

1011
00:54:43,920 --> 00:54:46,320
Speaker 1: Yeah, that's right, Doctor Fibes would have taken up the

1012
00:54:46,440 --> 00:54:49,279
Speaker 1: entire length of the film trying to pull off this

1013
00:54:49,440 --> 00:54:52,360
Speaker 1: level of completion with his revenge.

1014
00:54:52,640 --> 00:54:55,680
Speaker 3: Well, let's check in with Mattie's fiance Kathy and her

1015
00:54:55,760 --> 00:55:00,800
Speaker 3: roommate Sue. So again, it's funny because while Carolyn Jones

1016
00:55:00,840 --> 00:55:03,799
Speaker 3: did the Betty Boop voice for Matthew, she comes off

1017
00:55:03,840 --> 00:55:06,840
Speaker 3: as savvy and even cynical when talking with Sue. So

1018
00:55:06,920 --> 00:55:10,680
Speaker 3: she's no longer playing at naive and she's talking to

1019
00:55:10,719 --> 00:55:14,920
Speaker 3: her roommate Sue, and Sue is Phyllis Kirk and she's like, well,

1020
00:55:14,960 --> 00:55:16,920
Speaker 3: you know, Maddie was going to marry me, so I

1021
00:55:16,920 --> 00:55:19,000
Speaker 3: thought I could get my hands on that insurance money,

1022
00:55:19,040 --> 00:55:23,000
Speaker 3: but he's dead. Lol. Anyway, I've got a new date

1023
00:55:23,040 --> 00:55:27,560
Speaker 3: tonight and he's real handsome and he's a free spender. Meanwhile,

1024
00:55:27,840 --> 00:55:30,880
Speaker 3: Kathy is like bracing against a door frame while Sue

1025
00:55:30,880 --> 00:55:35,040
Speaker 3: pulls her course at laces tighter, and Kathy's very excited

1026
00:55:35,040 --> 00:55:38,440
Speaker 3: about about her new bow again, he's you know, he's

1027
00:55:38,480 --> 00:55:40,480
Speaker 3: he's a free spender. He's going to take her to

1028
00:55:40,520 --> 00:55:43,440
Speaker 3: a place called the Hoffman House for dinner, and then

1029
00:55:43,520 --> 00:55:47,319
Speaker 3: to quote Tony Pastors for the vaudeville show, which I

1030
00:55:47,320 --> 00:55:49,520
Speaker 3: don't know. That doesn't sound like a cheap date. Does

1031
00:55:49,560 --> 00:55:51,279
Speaker 3: sound like he's pay he's paying up to go to

1032
00:55:51,320 --> 00:55:52,160
Speaker 3: the nice places.

1033
00:55:52,560 --> 00:55:55,879
Speaker 1: But when we do see the vaudeville show, it's another Again.

1034
00:55:55,920 --> 00:55:57,719
Speaker 1: I think it's a three D showcase. We get that

1035
00:55:57,800 --> 00:56:01,640
Speaker 1: three D code approved to it, pushed at the camera,

1036
00:56:02,280 --> 00:56:04,600
Speaker 1: like the what do you call the sort of pants

1037
00:56:05,000 --> 00:56:07,040
Speaker 1: that they're wearing with all the ruffles.

1038
00:56:06,920 --> 00:56:09,520
Speaker 3: The ruffel pants underneath the dress. I don't know what.

1039
00:56:09,640 --> 00:56:14,120
Speaker 1: Yeah all that. Yeah, sots are really nuns and pantaloons. Yeah,

1040
00:56:14,160 --> 00:56:19,719
Speaker 1: not even remotely riskue by modern modern standards. But I

1041
00:56:19,719 --> 00:56:22,440
Speaker 1: guess this is a slightly risky moment in this film.

1042
00:56:22,640 --> 00:56:24,399
Speaker 3: Well, we don't see it in this scene. We see

1043
00:56:24,440 --> 00:56:28,799
Speaker 3: it later when hilariously Scott takes Sue there to take

1044
00:56:28,840 --> 00:56:31,200
Speaker 3: her mind off the fact that she is being chased

1045
00:56:31,200 --> 00:56:34,799
Speaker 3: by a melted man. Yeah, but we learn a bit

1046
00:56:34,840 --> 00:56:38,920
Speaker 3: here about Kathy and Sue's relationships, So the dynamic seems

1047
00:56:38,920 --> 00:56:42,279
Speaker 3: to be that Kathy is. She has an active social life,

1048
00:56:42,400 --> 00:56:45,440
Speaker 3: ended nose for money, she's trying to marry rich, whereas

1049
00:56:45,480 --> 00:56:48,480
Speaker 3: Sue seems very modest and she's kind of a homebody.

1050
00:56:48,640 --> 00:56:51,000
Speaker 3: And if this movie were set one hundred years later,

1051
00:56:51,040 --> 00:56:53,680
Speaker 3: I think Sue would be a nerd with glasses. Who doesn't,

1052
00:56:53,760 --> 00:56:56,239
Speaker 3: you know, take her glasses off. Until the scene in

1053
00:56:56,280 --> 00:56:58,840
Speaker 3: the third act where she's modeling to be Marie Antoinette

1054
00:56:58,920 --> 00:56:59,320
Speaker 3: or something.

1055
00:56:59,600 --> 00:57:02,319
Speaker 1: Yeah, but you definitely get the vibe here that they're

1056
00:57:02,360 --> 00:57:05,239
Speaker 1: both doing what they can to scrap, buy and make

1057
00:57:05,280 --> 00:57:06,200
Speaker 1: it in a man's world.

1058
00:57:06,440 --> 00:57:08,919
Speaker 3: That's right. And you know what, I liked their relationship.

1059
00:57:09,000 --> 00:57:11,319
Speaker 3: They're good friends and they take care of each other.

1060
00:57:12,000 --> 00:57:14,520
Speaker 3: Kathy says, you know, we're so different. You've got the brains,

1061
00:57:14,560 --> 00:57:18,400
Speaker 3: and what I've got is well what I've got. And

1062
00:57:17,640 --> 00:57:21,520
Speaker 3: so Sue has in this at the beginning here come

1063
00:57:21,560 --> 00:57:23,800
Speaker 3: on hard time. She's out of work and out of money,

1064
00:57:23,880 --> 00:57:26,960
Speaker 3: and Kathy's helping her out. She right before she leaves

1065
00:57:27,040 --> 00:57:29,479
Speaker 3: for the date, she gives her the last fifty cents

1066
00:57:29,480 --> 00:57:31,600
Speaker 3: in her purse to buy some supper and says, I

1067
00:57:31,600 --> 00:57:34,200
Speaker 3: don't need any mad money. I never get mad. So

1068
00:57:34,320 --> 00:57:36,920
Speaker 3: later that night, Sue comes home after trying to get

1069
00:57:36,920 --> 00:57:40,560
Speaker 3: a job as a hat check attendant working under some

1070
00:57:40,800 --> 00:57:44,120
Speaker 3: tyrannical theater manager. That doesn't work out. She doesn't get

1071
00:57:44,120 --> 00:57:46,360
Speaker 3: the job. We don't see that scene, but we get

1072
00:57:46,360 --> 00:57:48,720
Speaker 3: the impression that it's because the theater manager is a

1073
00:57:48,760 --> 00:57:51,320
Speaker 3: creep and Sue wouldn't put up with it and just left.

1074
00:57:51,800 --> 00:57:54,400
Speaker 3: So Sue's trying to sneak up to her room, but

1075
00:57:54,520 --> 00:57:57,520
Speaker 3: the land lady of their building is posted like a

1076
00:57:57,520 --> 00:58:01,240
Speaker 3: century She's waiting in the parlor to demand immediately, like

1077
00:58:01,320 --> 00:58:04,040
Speaker 3: you cannot stay here tonight unless you give me the rent.

1078
00:58:04,040 --> 00:58:06,560
Speaker 3: And I think Sue was waiting for Kathy to get

1079
00:58:06,600 --> 00:58:09,480
Speaker 3: back from her date with some money so she could

1080
00:58:09,800 --> 00:58:11,880
Speaker 3: so that could she could borrow it from her, so

1081
00:58:11,960 --> 00:58:12,760
Speaker 3: that could be the rent.

1082
00:58:12,800 --> 00:58:15,040
Speaker 1: I think, mm hmm, yeah, I believe that was the arrangement.

1083
00:58:15,200 --> 00:58:16,920
Speaker 3: Yeah, yeah, So Sue goes up to the room to

1084
00:58:16,920 --> 00:58:19,960
Speaker 3: see if she can borrow the money, but instead Kathy

1085
00:58:20,080 --> 00:58:23,280
Speaker 3: is dead. She finds Kathy murdered in her room, and

1086
00:58:23,320 --> 00:58:26,720
Speaker 3: then she is startled by a terrifying melted man in black,

1087
00:58:26,760 --> 00:58:30,160
Speaker 3: the same man we saw killing Matthew Burke, and a

1088
00:58:30,280 --> 00:58:33,880
Speaker 3: chase scene follows I would say, very good tense chase scene.

1089
00:58:34,160 --> 00:58:37,000
Speaker 3: Sue escapes out the window and onto the streets below,

1090
00:58:37,040 --> 00:58:39,440
Speaker 3: and then the melted man in black runs after her,

1091
00:58:39,920 --> 00:58:43,160
Speaker 3: and they're chasing through this maze of alley ways in

1092
00:58:43,200 --> 00:58:46,360
Speaker 3: a foggy night. Sue barely escapes, making it to the

1093
00:58:46,400 --> 00:58:49,800
Speaker 3: home of a friend, a sculptor named Scott Andrews who

1094
00:58:49,840 --> 00:58:52,720
Speaker 3: lives with his mother. Again thumbs up to the chase scene.

1095
00:58:52,760 --> 00:58:54,320
Speaker 3: I love the street sets.

1096
00:58:55,120 --> 00:59:00,600
Speaker 1: Yeah, yeah, the great, great, great streets they create here, dark, gothic, wonderful.

1097
00:59:01,080 --> 00:59:04,200
Speaker 3: So police investigators the next day arrive at the scene

1098
00:59:04,200 --> 00:59:06,040
Speaker 3: of Kathy's murder, or maybe it's later that night, I

1099
00:59:06,080 --> 00:59:06,400
Speaker 3: don't know.

1100
00:59:07,320 --> 00:59:07,680
Speaker 1: I don't know.

1101
00:59:07,720 --> 00:59:09,520
Speaker 3: They show up and they're trying to figure out what's

1102
00:59:09,560 --> 00:59:12,400
Speaker 3: going on at the morgue. They determined the cause of

1103
00:59:12,440 --> 00:59:16,400
Speaker 3: death with strangulation, and they determined that she had been drugged,

1104
00:59:16,480 --> 00:59:18,360
Speaker 3: probably in a drink beforehand.

1105
00:59:18,800 --> 00:59:19,080
Speaker 1: Hmm.

1106
00:59:19,320 --> 00:59:21,760
Speaker 3: It makes you wonder who her date was with was

1107
00:59:21,800 --> 00:59:25,400
Speaker 3: the date involved in the murder, but we assume also

1108
00:59:25,480 --> 00:59:28,000
Speaker 3: that her date was not with the melted Vincent Price

1109
00:59:28,080 --> 00:59:31,000
Speaker 3: because she says the guy she was going out with

1110
00:59:31,120 --> 00:59:32,280
Speaker 3: was very handsome.

1111
00:59:32,680 --> 00:59:35,800
Speaker 1: Yeah, they never really tell us one way or another.

1112
00:59:36,480 --> 00:59:39,520
Speaker 1: I guess, if I had to try and put it

1113
00:59:39,560 --> 00:59:42,520
Speaker 1: together in my head, I guess maybe one of Vincent

1114
00:59:42,560 --> 00:59:44,800
Speaker 1: Price's two underlings that we meet later.

1115
00:59:45,120 --> 00:59:49,160
Speaker 3: Or it could be Vincent Price with the wax face

1116
00:59:49,160 --> 00:59:50,000
Speaker 3: we see him with later.

1117
00:59:50,600 --> 00:59:53,280
Speaker 1: I guess you'd think the cops would figure this out, though, like,

1118
00:59:53,400 --> 00:59:55,840
Speaker 1: who is she saying? This is not a police procedural,

1119
00:59:55,920 --> 00:59:59,000
Speaker 1: So if we don't even go down this direction anyway.

1120
00:59:59,640 --> 01:00:02,640
Speaker 3: At the MO there is some comic relief with the orderlies,

1121
01:00:03,560 --> 01:00:06,200
Speaker 3: and there's one point where they're in the room with

1122
01:00:06,240 --> 01:00:08,400
Speaker 3: all of the bodies and one of the corpses pops

1123
01:00:08,480 --> 01:00:11,439
Speaker 3: up under the sheet, but the orderly is like, ah, yeah,

1124
01:00:11,480 --> 01:00:15,280
Speaker 3: they do that sometimes it's the embalming fluid. But no,

1125
01:00:15,520 --> 01:00:18,400
Speaker 3: after they leave, it pops up again and it is

1126
01:00:18,440 --> 01:00:21,640
Speaker 3: not the embalming fluid. It is our melted assailant pretending

1127
01:00:21,680 --> 01:00:22,400
Speaker 3: to be a corpse.

1128
01:00:23,240 --> 01:00:25,840
Speaker 1: This whole sequence plays out pretty much exactly like it

1129
01:00:25,840 --> 01:00:29,000
Speaker 1: does in the original picture, and in the original picture

1130
01:00:29,040 --> 01:00:33,480
Speaker 1: also just a very haunting scene of the of the morgue,

1131
01:00:33,880 --> 01:00:36,840
Speaker 1: So yeah, they recreate it well, I think.

1132
01:00:37,160 --> 01:00:39,360
Speaker 3: But he locates the body of Kathy Gray and he

1133
01:00:39,440 --> 01:00:42,240
Speaker 3: proceeds to steal it from the morgue. He lowers the

1134
01:00:42,240 --> 01:00:44,760
Speaker 3: body out the window to a couple of co conspirators

1135
01:00:44,800 --> 01:00:48,480
Speaker 3: waiting below, who are also dressed in dark cloaks and hats.

1136
01:00:49,160 --> 01:00:51,440
Speaker 3: And I did laugh here because the fake body prop

1137
01:00:51,520 --> 01:00:54,800
Speaker 3: they use for the rope lowering is very stiff and

1138
01:00:54,880 --> 01:00:59,360
Speaker 3: obviously very light. Later, Sue and her friend Scott and

1139
01:00:59,360 --> 01:01:02,520
Speaker 3: Scott's mother are at the police station being interrogated, and

1140
01:01:02,560 --> 01:01:06,160
Speaker 3: the interrogation consists of the police asking things like, quote,

1141
01:01:06,600 --> 01:01:10,320
Speaker 3: are you sure you didn't imagine all of it? And

1142
01:01:10,400 --> 01:01:13,080
Speaker 3: also they tell her it is impossible for a human

1143
01:01:13,120 --> 01:01:16,680
Speaker 3: being to look the way you described. Oh, and we

1144
01:01:16,760 --> 01:01:18,720
Speaker 3: find out in the scene that the body of Matthew

1145
01:01:18,760 --> 01:01:21,640
Speaker 3: Burke was similarly stolen from the morgue.

1146
01:01:21,920 --> 01:01:25,960
Speaker 1: Yeah, it gradually becomes apparent that bodies are being stolen

1147
01:01:26,120 --> 01:01:28,080
Speaker 1: and bodies are disappearing all over town.

1148
01:01:28,600 --> 01:01:39,640
Speaker 3: Right, So a new scene later Sidney Wallace remember him,

1149
01:01:39,680 --> 01:01:41,680
Speaker 3: He was the investor who had to go to Egypt

1150
01:01:41,760 --> 01:01:44,080
Speaker 3: for three weeks, but he was going to invest in

1151
01:01:44,400 --> 01:01:47,120
Speaker 3: Henry Jared's museum. Well, he shows up at a door

1152
01:01:47,120 --> 01:01:50,280
Speaker 3: in an alleyway and he's greeted by a young jacked

1153
01:01:50,480 --> 01:01:54,440
Speaker 3: Charles Bronson, who we will later be informed is named Igor.

1154
01:01:54,960 --> 01:01:58,080
Speaker 1: Yeah. Yeah. By the way, one thing I pointed out

1155
01:01:58,080 --> 01:02:02,160
Speaker 1: in the documentary is that Bronson was already pretty big

1156
01:02:02,760 --> 01:02:08,760
Speaker 1: in Italy under his birth name, but he was big

1157
01:02:08,880 --> 01:02:12,800
Speaker 1: enough that when they put the poster out for the

1158
01:02:12,840 --> 01:02:16,840
Speaker 1: Italian market, his head is prominently featured, like it's almost

1159
01:02:16,920 --> 01:02:18,480
Speaker 1: like starring Charles Bronson.

1160
01:02:18,760 --> 01:02:21,760
Speaker 3: Well, his head is actually prominent in the movie because

1161
01:02:21,800 --> 01:02:25,440
Speaker 3: there are multiple wax casts of it, because what we

1162
01:02:25,560 --> 01:02:28,480
Speaker 3: learn in the scene is that Igor is one of

1163
01:02:28,520 --> 01:02:32,600
Speaker 3: the pupils of Professor Jared, now revealed to be still alive,

1164
01:02:33,080 --> 01:02:36,600
Speaker 3: and Igor tries to make wax figures of other people,

1165
01:02:36,600 --> 01:02:40,720
Speaker 3: but he always ends up making his own face. That

1166
01:02:40,800 --> 01:02:44,560
Speaker 3: almost seems like an interesting, rare neurological condition where you

1167
01:02:44,680 --> 01:02:48,120
Speaker 3: perceive everybody else's face to be exactly the same, everybody

1168
01:02:48,160 --> 01:02:49,720
Speaker 3: else's face to be the same as your own.

1169
01:02:49,800 --> 01:02:51,320
Speaker 1: Yeah, it seems like the kind of thing you might

1170
01:02:51,400 --> 01:02:54,120
Speaker 1: build an entire Twilight Zone episode out of, but it's

1171
01:02:54,160 --> 01:02:55,200
Speaker 1: not really explored here.

1172
01:02:55,440 --> 01:02:57,920
Speaker 3: Well anyway, so Wallace here, he says he got a

1173
01:02:57,960 --> 01:03:00,720
Speaker 3: letter telling him to come meet Professor Jared this address,

1174
01:03:00,800 --> 01:03:03,320
Speaker 3: and yet he's confused because Professor Jared is supposed to

1175
01:03:03,360 --> 01:03:06,360
Speaker 3: be dead, but nope, here is Vincent Price and not melted.

1176
01:03:06,440 --> 01:03:10,640
Speaker 3: He looks like regular unmelted Vincent Price. His hands are

1177
01:03:10,680 --> 01:03:13,280
Speaker 3: scarred and he moves with the help of a wheelchair,

1178
01:03:13,320 --> 01:03:17,120
Speaker 3: but his face is back to normal. And Jared says, hey, Wallace,

1179
01:03:17,360 --> 01:03:19,760
Speaker 3: I'm opening a new wax museum. This one will be

1180
01:03:19,800 --> 01:03:24,120
Speaker 3: dedicated to the themes of terror, agony, crime, malice, and execution.

1181
01:03:24,720 --> 01:03:27,000
Speaker 3: And we're going to send people into the streets telling

1182
01:03:27,000 --> 01:03:29,920
Speaker 3: their friends how wonderful it is to be scared to death?

1183
01:03:30,280 --> 01:03:33,040
Speaker 3: Do you want end? Do you want to invest? Seems

1184
01:03:33,080 --> 01:03:35,160
Speaker 3: like Wallace is going to invest, but he shows him

1185
01:03:35,160 --> 01:03:37,840
Speaker 3: around first. He's like, you know, here's my facility. Here

1186
01:03:37,880 --> 01:03:41,160
Speaker 3: is Charles Bronson. This is my student. He makes wax faces.

1187
01:03:41,200 --> 01:03:43,160
Speaker 3: Now that my hands are too scarred to do it.

1188
01:03:43,640 --> 01:03:47,040
Speaker 3: He's got another student downstairs named Leon. He also does

1189
01:03:47,080 --> 01:03:49,560
Speaker 3: the wax for him. Oh and here is my giant

1190
01:03:49,760 --> 01:03:51,240
Speaker 3: vat of boiling wax.

1191
01:03:52,800 --> 01:03:55,240
Speaker 1: Oh I love this vat of wax. It's got this

1192
01:03:55,400 --> 01:03:59,360
Speaker 1: pink tent to it just looks amazing.

1193
01:04:00,080 --> 01:04:02,680
Speaker 3: And he shows how he uses the boiling wax to

1194
01:04:03,480 --> 01:04:07,000
Speaker 3: make the skin that he pours. He uses a sort

1195
01:04:07,040 --> 01:04:10,800
Speaker 3: of sprinkler system to pour the melted wax over the

1196
01:04:10,800 --> 01:04:13,880
Speaker 3: mold of a body, which is made of plaster, by

1197
01:04:13,920 --> 01:04:16,760
Speaker 3: the way, not flesh. And then he reveals the most

1198
01:04:16,800 --> 01:04:20,720
Speaker 3: recent wax effigy he has finished. Igor opens a box

1199
01:04:20,720 --> 01:04:24,160
Speaker 3: which just looks like a coffin standing up, and then oh,

1200
01:04:24,520 --> 01:04:28,120
Speaker 3: there is Matthew Burke. He looks so lifelike, and he

1201
01:04:28,240 --> 01:04:31,120
Speaker 3: falls toward the camera out of the box, and Price

1202
01:04:31,200 --> 01:04:35,360
Speaker 3: says he hanged himself in an elevator shaft. And then intermission.

1203
01:04:37,840 --> 01:04:41,480
Speaker 3: So my version of this movie, the intermission card just

1204
01:04:41,680 --> 01:04:45,680
Speaker 3: said intermission. But I found screenshots of the intermission card

1205
01:04:45,720 --> 01:04:49,960
Speaker 3: on the internet that said intermission ten minutes. What's what's

1206
01:04:50,000 --> 01:04:50,600
Speaker 3: going on there?

1207
01:04:50,840 --> 01:04:53,400
Speaker 1: I believe the version I watched said ten minutes as well.

1208
01:04:53,920 --> 01:04:56,120
Speaker 1: I didn't go back and double check, but I remember

1209
01:04:56,160 --> 01:04:59,520
Speaker 1: when it came up and I was like, oh, I've

1210
01:04:59,520 --> 01:05:01,680
Speaker 1: got some time here. But then we don't get the

1211
01:05:01,720 --> 01:05:05,040
Speaker 1: actual ten minutes or whatever, so we go right back

1212
01:05:05,080 --> 01:05:07,200
Speaker 1: into the picture. But I have to say I kind

1213
01:05:07,240 --> 01:05:09,040
Speaker 1: of miss the when I do go to a theater

1214
01:05:09,120 --> 01:05:11,760
Speaker 1: these days, I kind of miss the intermission, especially when

1215
01:05:11,760 --> 01:05:15,400
Speaker 1: we're dealing with like three hour long pictures. And you

1216
01:05:15,400 --> 01:05:19,200
Speaker 1: know you're drinking coffee. You need to get up and

1217
01:05:19,320 --> 01:05:21,080
Speaker 1: go to the bathroom after a while, and you just

1218
01:05:21,120 --> 01:05:23,520
Speaker 1: have to sort of guess or maybe do some research

1219
01:05:23,920 --> 01:05:27,080
Speaker 1: and find out what scenes you need to hit. And

1220
01:05:27,120 --> 01:05:29,760
Speaker 1: then it's got to be this rushed affair to use

1221
01:05:29,800 --> 01:05:31,520
Speaker 1: the bathroom and get back to the seat. It seems

1222
01:05:31,520 --> 01:05:34,240
Speaker 1: like why not do the intermissions, and especially in these

1223
01:05:34,280 --> 01:05:37,840
Speaker 1: theaters where you have assigned seats nowadays, like let people

1224
01:05:37,880 --> 01:05:40,600
Speaker 1: stroll out there, use the bathroom, buy some more food

1225
01:05:40,680 --> 01:05:41,400
Speaker 1: and what have you?

1226
01:05:41,840 --> 01:05:45,600
Speaker 3: Agreed? Intermissions are nice, but yeah, likewise my version of

1227
01:05:45,600 --> 01:05:48,440
Speaker 3: the movie, the intermission only lasted a few seconds. So

1228
01:05:48,560 --> 01:05:52,440
Speaker 3: after the intermission, the new house of Wax is open

1229
01:05:52,600 --> 01:05:56,240
Speaker 3: and it is bustling. It's obviously doing great business. It

1230
01:05:56,320 --> 01:06:00,440
Speaker 3: is also deeply morbid and prurient. All it's just wax

1231
01:06:00,520 --> 01:06:04,600
Speaker 3: executions and belly dancers, and Vincent Price is going around

1232
01:06:04,640 --> 01:06:07,840
Speaker 3: handing out smelling salts to the ladies who are fainting

1233
01:06:08,680 --> 01:06:11,040
Speaker 3: in the middle of his museum. And here's the part

1234
01:06:11,080 --> 01:06:14,840
Speaker 3: where they have hired a paddle ball barker to get

1235
01:06:14,880 --> 01:06:18,120
Speaker 3: people in the door. He is out front, just whipping

1236
01:06:18,160 --> 01:06:21,080
Speaker 3: the paddle balls and talking a mile a minute.

1237
01:06:21,320 --> 01:06:25,640
Speaker 1: Yeah, Reggie rymal here absolutely threatening any and everyone who

1238
01:06:25,760 --> 01:06:30,080
Speaker 1: comes within paddleball reach of him just ride in their faces,

1239
01:06:30,160 --> 01:06:34,080
Speaker 1: then ride in the camera, and he even basically breaks

1240
01:06:34,120 --> 01:06:37,120
Speaker 1: the fourth wall and threatens a moviegoer in their popcorn,

1241
01:06:37,240 --> 01:06:41,040
Speaker 1: though not in like a total Grimlins two winky Winky way,

1242
01:06:41,560 --> 01:06:45,400
Speaker 1: but but still it gets dangerously close to that level.

1243
01:06:45,680 --> 01:06:49,000
Speaker 3: I don't know, I think it is almost Krimlin's two level,

1244
01:06:49,040 --> 01:06:51,800
Speaker 3: because he's starting to say he looks directly into the

1245
01:06:51,800 --> 01:06:54,160
Speaker 3: camera and he says, I see you sitting. So what

1246
01:06:54,240 --> 01:06:56,680
Speaker 3: he's doing already is he's hitting the paddle ball at

1247
01:06:56,720 --> 01:06:59,439
Speaker 3: like somebody's hat. He's like, I can knock the feather

1248
01:06:59,480 --> 01:07:02,680
Speaker 3: off of your hate and he's, you know, doing that.

1249
01:07:02,720 --> 01:07:04,600
Speaker 3: But then he looks into the camera he says, look,

1250
01:07:04,760 --> 01:07:07,560
Speaker 3: you there holding a box of popcorn. I'm going to

1251
01:07:07,640 --> 01:07:08,560
Speaker 3: hit the popcorn.

1252
01:07:09,920 --> 01:07:12,720
Speaker 1: Yeah. Yeah, but but if you really want to do

1253
01:07:12,800 --> 01:07:15,240
Speaker 1: you could think, well, there's a kid with popcorn there

1254
01:07:15,280 --> 01:07:18,120
Speaker 1: on the street, and that's what he's aiming at. And

1255
01:07:18,160 --> 01:07:20,560
Speaker 1: it's just out of we can't see it because we're

1256
01:07:20,800 --> 01:07:26,560
Speaker 1: that's where we're positioned. But yeah, it's it's still very gimmicky.

1257
01:07:26,600 --> 01:07:28,680
Speaker 1: It's a very gimmicky moment. This is the moment of

1258
01:07:28,680 --> 01:07:31,840
Speaker 1: the film where they're fully embracing the gimmick of three D,

1259
01:07:32,280 --> 01:07:35,000
Speaker 1: and not for immersion in the picture, but just for

1260
01:07:35,200 --> 01:07:36,520
Speaker 1: the spectacle itself.

1261
01:07:36,680 --> 01:07:41,560
Speaker 3: So many pretensions Henry Jared had of keeping dignity and

1262
01:07:41,640 --> 01:07:45,840
Speaker 3: fine art as the as the purpose of music his museum,

1263
01:07:45,840 --> 01:07:47,880
Speaker 3: this has all been abandoned. So he has a gimmicky

1264
01:07:47,920 --> 01:07:51,479
Speaker 3: barker out front, get luring people in by by taunting them.

1265
01:07:51,920 --> 01:07:54,120
Speaker 3: And when he leads the tour, it is now all

1266
01:07:54,200 --> 01:07:57,959
Speaker 3: wax score. He's quoting Shakespeare and making comments like yes,

1267
01:07:58,080 --> 01:08:00,880
Speaker 3: Anne Boleyn, her husband King Henry found a way to

1268
01:08:00,960 --> 01:08:04,800
Speaker 3: cut their marriage short. And then he uses at one point,

1269
01:08:04,840 --> 01:08:08,840
Speaker 3: he uses a guillotine to decapitate a wax French aristocrat

1270
01:08:08,960 --> 01:08:10,720
Speaker 3: and this makes people scream and faint.

1271
01:08:11,120 --> 01:08:14,600
Speaker 1: Yeah, he's just fully embracing all of the gore that

1272
01:08:15,080 --> 01:08:18,200
Speaker 1: he he didn't want to embrace previously. He's like, I'm back,

1273
01:08:18,479 --> 01:08:21,200
Speaker 1: I'm changed. Now you want gore, you got it?

1274
01:08:21,280 --> 01:08:24,160
Speaker 3: Oh, and then here's a familiar exhibit. He's he's like

1275
01:08:24,200 --> 01:08:27,519
Speaker 3: showing off the scenes of crimes. He's like Matthew Burke,

1276
01:08:27,680 --> 01:08:31,240
Speaker 3: the stockbroker and I'm just thinking, is this a quote

1277
01:08:31,479 --> 01:08:35,479
Speaker 3: crime worthy of a museum piece. It doesn't make doesn't

1278
01:08:35,479 --> 01:08:38,760
Speaker 3: really fit in with the famous historical executions here.

1279
01:08:39,360 --> 01:08:41,760
Speaker 1: Yeah. Again, it's a moment where this is clearly not

1280
01:08:41,800 --> 01:08:45,040
Speaker 1: a police procedural because amid all of these historic and

1281
01:08:45,120 --> 01:08:49,120
Speaker 1: famous deaths, here is a less newsworthy death about someone

1282
01:08:49,240 --> 01:08:53,400
Speaker 1: personally connected to me and my business pursuits.

1283
01:08:53,160 --> 01:08:54,639
Speaker 3: Who died several weeks ago.

1284
01:08:55,040 --> 01:08:58,600
Speaker 1: Yeah, and everyone's like, oh, oh yeah, very impressive.

1285
01:08:58,920 --> 01:09:02,679
Speaker 3: So Sue and Scott Scott the sculptor, come to visit

1286
01:09:02,720 --> 01:09:07,320
Speaker 3: the museum, and they're commenting on everything. They're like, wow, yeah,

1287
01:09:07,360 --> 01:09:11,200
Speaker 3: these are really well done. Scott, even as a professional,

1288
01:09:11,280 --> 01:09:15,160
Speaker 3: is highly impressed, and he says Sue has been modeling

1289
01:09:15,200 --> 01:09:18,320
Speaker 3: for him, she's been posing for I guess his sculpture is.

1290
01:09:18,479 --> 01:09:20,439
Speaker 3: I don't know if he is a wax sculptor or

1291
01:09:20,520 --> 01:09:23,320
Speaker 3: some other kind of sculptor. I don't recall if they

1292
01:09:23,360 --> 01:09:27,639
Speaker 3: reveal that. But eventually Sue wanders over to the exhibit

1293
01:09:27,680 --> 01:09:30,439
Speaker 3: showing Joan of arc at the stake ready to be burned,

1294
01:09:30,720 --> 01:09:33,040
Speaker 3: and let's zoom in on her face. Why that looks

1295
01:09:33,040 --> 01:09:38,000
Speaker 3: an awful lot like Carolyn Jones Sue's roommate Kathy. Sue

1296
01:09:38,040 --> 01:09:41,480
Speaker 3: is greatly disturbed to see her dead friend's face perfectly

1297
01:09:41,520 --> 01:09:45,200
Speaker 3: reproduced in wax sculpture, and she starts to kind of

1298
01:09:45,200 --> 01:09:47,759
Speaker 3: freak out about this, but Vincent Price comes over to explain.

1299
01:09:47,840 --> 01:09:50,360
Speaker 3: He says that after she was killed, he saw her

1300
01:09:50,439 --> 01:09:53,920
Speaker 3: face in a picture in the newspaper and use that

1301
01:09:54,080 --> 01:09:57,040
Speaker 3: as a model for his joan of arc and Sue

1302
01:09:57,080 --> 01:10:00,320
Speaker 3: accepts this, but still seems troubled by how it can

1303
01:10:00,800 --> 01:10:04,280
Speaker 3: look so real, And of course Vincent Price is very

1304
01:10:04,280 --> 01:10:07,000
Speaker 3: creepy about it. He says, that's the finest compliment I've

1305
01:10:07,000 --> 01:10:12,040
Speaker 3: ever received, And then Jared starts asking old Scott the

1306
01:10:12,080 --> 01:10:15,759
Speaker 3: sculptor what he's He's like, I hear you're a sculptor, Scott,

1307
01:10:15,800 --> 01:10:18,400
Speaker 3: show me your hands, and then he shows him his hands,

1308
01:10:18,439 --> 01:10:21,640
Speaker 3: and Vincent Price says, yes, mine, we're once like that,

1309
01:10:22,840 --> 01:10:26,960
Speaker 3: and so they make arrangements to work together sometime. But

1310
01:10:27,320 --> 01:10:32,639
Speaker 3: while Jared is talking, he also just starts hallucinating Sue

1311
01:10:32,800 --> 01:10:35,600
Speaker 3: as Marie Antoinette. She's like fading in and out of

1312
01:10:36,600 --> 01:10:40,519
Speaker 3: her regular costume and then into the Marie Antoinette get up.

1313
01:10:41,240 --> 01:10:45,160
Speaker 1: Yeah, this is he sees her as his favorite is

1314
01:10:45,160 --> 01:10:48,360
Speaker 1: like he wants to recreate his favorite Marie Antoinette, and

1315
01:10:48,439 --> 01:10:51,439
Speaker 1: this is clearly the woman whose likeness he needs to

1316
01:10:51,479 --> 01:10:52,720
Speaker 1: transform into her.

1317
01:10:53,080 --> 01:10:56,759
Speaker 3: Right, He is desperate to wax this woman, so Jared

1318
01:10:56,840 --> 01:11:01,599
Speaker 3: asks Sue to model for him, and she I think

1319
01:11:01,680 --> 01:11:04,400
Speaker 3: she kind of agrees, But then they leave and you

1320
01:11:04,439 --> 01:11:08,639
Speaker 3: know they're they're walking out and we get another another

1321
01:11:08,680 --> 01:11:10,840
Speaker 3: shot of the paddleball guy as we leave. It's like

1322
01:11:10,920 --> 01:11:11,840
Speaker 3: one was not enough.

1323
01:11:13,520 --> 01:11:16,680
Speaker 1: He is really impressive. Like there at one point, and

1324
01:11:16,800 --> 01:11:18,800
Speaker 1: maybe it's the earliest scene. He does the bit where

1325
01:11:19,360 --> 01:11:22,519
Speaker 1: he's using two paddleballs at once, but then he ends

1326
01:11:22,600 --> 01:11:25,360
Speaker 1: up doing three and he catches all the balls in

1327
01:11:25,439 --> 01:11:29,280
Speaker 1: his mouth. Uh, it's it's pretty great. You might not

1328
01:11:29,400 --> 01:11:32,160
Speaker 1: think you need to see this performance, but after you

1329
01:11:32,200 --> 01:11:34,400
Speaker 1: see it, you're like that, that's that's really good. This

1330
01:11:34,520 --> 01:11:35,840
Speaker 1: man was at the top of his game.

1331
01:11:36,160 --> 01:11:38,960
Speaker 3: Later that night, though, when Sue is in her bedroom,

1332
01:11:39,160 --> 01:11:41,760
Speaker 3: we see the melted wax man in the in the

1333
01:11:41,800 --> 01:11:45,680
Speaker 3: hat and cloak sneaking up to the window and he

1334
01:11:45,800 --> 01:11:49,040
Speaker 3: sort of he like throws throws a grappling hook or

1335
01:11:49,080 --> 01:11:52,080
Speaker 3: something and like swings across the alleyway to her window

1336
01:11:52,520 --> 01:11:55,000
Speaker 3: and he's sneaking up on her, but Sue wakes up

1337
01:11:55,040 --> 01:11:57,559
Speaker 3: before he reaches her. She screams and he runs away.

1338
01:11:57,880 --> 01:11:59,960
Speaker 3: And then next we just go straight to the Burlett

1339
01:12:00,240 --> 01:12:03,720
Speaker 3: three D spectacle that you talked about earlier. So they're

1340
01:12:03,720 --> 01:12:05,920
Speaker 3: at the music hall, Sue and Scott are there together,

1341
01:12:06,000 --> 01:12:08,560
Speaker 3: and we just get to watch the can Can dancers

1342
01:12:08,560 --> 01:12:13,320
Speaker 3: in three D kicking kicking up a storm. Also time

1343
01:12:13,360 --> 01:12:15,800
Speaker 3: to stop and appreciate a food and bev scene. You know,

1344
01:12:15,840 --> 01:12:19,439
Speaker 3: we should, we should rate the food and beverages in

1345
01:12:19,520 --> 01:12:22,920
Speaker 3: movies more often. So in this scene, our heroes are

1346
01:12:22,920 --> 01:12:25,960
Speaker 3: delivered a logger for the man, a sasparilla for the lady,

1347
01:12:26,040 --> 01:12:28,920
Speaker 3: and two knockwursts on rye. Looks like maybe they get

1348
01:12:29,800 --> 01:12:33,120
Speaker 3: a couple of little Cornischans with sausage sandwiches. I rate

1349
01:12:33,160 --> 01:12:34,800
Speaker 3: this movie meal of three out of ten.

1350
01:12:35,160 --> 01:12:35,400
Speaker 2: What.

1351
01:12:35,720 --> 01:12:37,640
Speaker 1: I don't know, if you're in the mood for it,

1352
01:12:37,640 --> 01:12:39,600
Speaker 1: it could work out, you know. Like the cornichons.

1353
01:12:40,120 --> 01:12:42,800
Speaker 3: I like Cornischans. The sandwiches look kind of kind of

1354
01:12:42,800 --> 01:12:44,640
Speaker 3: boring and dry, like it doesn't even look like the

1355
01:12:44,640 --> 01:12:47,280
Speaker 3: bread is toasted. It just don't know.

1356
01:12:47,760 --> 01:12:51,120
Speaker 1: The sasparilla looks good. It's in a nice classy little glass.

1357
01:12:51,680 --> 01:12:57,400
Speaker 3: Okay, agree there. So they're sitting there watching this dance

1358
01:12:57,479 --> 01:13:00,880
Speaker 3: show and Sue is like, it doesn't see improper, all

1359
01:13:00,920 --> 01:13:06,200
Speaker 3: those girls showing their talents, and then Scott explains. He says, look,

1360
01:13:06,240 --> 01:13:08,240
Speaker 3: you've been going around with the weight of the world

1361
01:13:08,280 --> 01:13:11,840
Speaker 3: on your shoulders. You're obsessed with your dead friend reincarnated

1362
01:13:11,880 --> 01:13:15,040
Speaker 3: as a wax martyr. You're seeing melted stalkers in your

1363
01:13:15,040 --> 01:13:17,280
Speaker 3: bedroom at night. You need to watch a show like

1364
01:13:17,320 --> 01:13:20,960
Speaker 3: this to quote bring you back to Normalcy'd say this

1365
01:13:21,040 --> 01:13:27,640
Speaker 3: is one of the least convincing statements in the film.

1366
01:13:25,760 --> 01:13:27,920
Speaker 1: But anyway, it's Bloomers in three D? What can you

1367
01:13:28,000 --> 01:13:28,960
Speaker 1: what can you say? Oh?

1368
01:13:29,040 --> 01:13:31,800
Speaker 3: Yeah yeah? And in all honesty, I think this scene

1369
01:13:31,840 --> 01:13:34,599
Speaker 3: probably is just like the paddle Ball, Like they wanted

1370
01:13:34,600 --> 01:13:38,280
Speaker 3: an excuse to have a three D a spectacle can

1371
01:13:38,320 --> 01:13:41,240
Speaker 3: can dancers kicking and jamming their butts in your face?

1372
01:13:41,680 --> 01:13:43,679
Speaker 3: So they found a way to fit it into the plot.

1373
01:13:43,720 --> 01:13:47,640
Speaker 3: But you know, it's it's funny, it works, it's pretty good. Yeah,

1374
01:13:48,040 --> 01:13:50,360
Speaker 3: But in the middle of this dance show, Sue is

1375
01:13:50,439 --> 01:13:53,680
Speaker 3: preoccupied with something about the wax Joan of Arc. Not

1376
01:13:53,720 --> 01:13:56,479
Speaker 3: only did it look exactly like Kathy, it had any

1377
01:13:56,479 --> 01:14:01,120
Speaker 3: irregular piercing in only one ear, just like the real Kathy.

1378
01:14:01,600 --> 01:14:05,200
Speaker 3: How could Jared have seen that from a newspaper photo

1379
01:14:06,080 --> 01:14:08,800
Speaker 3: and Scott that. She explains this to Scott and he's like,

1380
01:14:08,880 --> 01:14:10,479
Speaker 3: you know what you need. You need to talk to

1381
01:14:10,520 --> 01:14:12,920
Speaker 3: a cop. I'm gonna take you to the police station

1382
01:14:13,040 --> 01:14:15,360
Speaker 3: tomorrow and they'll tell you there's nothing to worry about.

1383
01:14:16,439 --> 01:14:18,839
Speaker 3: And so she's looking kind of like sad and dejected,

1384
01:14:18,840 --> 01:14:21,840
Speaker 3: while Scott's like, now relax, honey, and enjoy the show,

1385
01:14:21,920 --> 01:14:25,200
Speaker 3: and he's all jazzed up about it. The dancing resumes

1386
01:14:25,880 --> 01:14:28,960
Speaker 3: and then anyway, there is a scene the next day,

1387
01:14:29,000 --> 01:14:30,639
Speaker 3: I think where they get They do go and talk

1388
01:14:30,680 --> 01:14:33,680
Speaker 3: to the police, and unexpectedly the police start investigating this.

1389
01:14:33,800 --> 01:14:35,639
Speaker 3: They go and check on the museum and stuff.

1390
01:14:35,880 --> 01:14:38,200
Speaker 1: Yeah, they don't completely laugh off. I mean they do

1391
01:14:38,280 --> 01:14:41,080
Speaker 1: laugh at her, but they still follow up.

1392
01:14:42,040 --> 01:14:44,080
Speaker 3: Now, there's a few other scenes in here leading up

1393
01:14:44,160 --> 01:14:47,519
Speaker 3: to the climax. There's one part where they're at the

1394
01:14:47,600 --> 01:14:53,320
Speaker 3: museum and she's investigating the Kathy sculpture and then Vincent

1395
01:14:53,320 --> 01:14:56,360
Speaker 3: Price shows up with a box and opens it and

1396
01:14:56,520 --> 01:14:59,080
Speaker 3: it's a wax sculpture of Sue's own head and he

1397
01:14:59,120 --> 01:15:03,160
Speaker 3: shows it to Sue, like do you like it? But

1398
01:15:03,200 --> 01:15:06,679
Speaker 3: he still wants her to model sometime. And then meanwhile,

1399
01:15:06,720 --> 01:15:09,600
Speaker 3: also the police are poking around in the museum and

1400
01:15:09,640 --> 01:15:11,839
Speaker 3: they start noticing that a bunch of the wax figures

1401
01:15:11,880 --> 01:15:16,439
Speaker 3: in the room look exactly like the faces of bodies

1402
01:15:16,479 --> 01:15:18,920
Speaker 3: that have recently gone missing from the morgue. But they're

1403
01:15:18,960 --> 01:15:21,360
Speaker 3: just like Hunt, that's odd and just kind of whiffs

1404
01:15:21,360 --> 01:15:24,880
Speaker 3: over their heads. So there's more of a police investigation plot.

1405
01:15:24,920 --> 01:15:28,559
Speaker 3: They interrogate Wallace, they hunt down Leon, one of the

1406
01:15:28,600 --> 01:15:31,599
Speaker 3: two pupils, and arrest him, figure out his real identity

1407
01:15:31,640 --> 01:15:34,040
Speaker 3: and stuff. But it's all building up to this final

1408
01:15:34,080 --> 01:15:37,160
Speaker 3: confrontation where one night, Sue goes to the wax Museum

1409
01:15:37,560 --> 01:15:39,800
Speaker 3: to meet Scott but she can't find him, And there's

1410
01:15:39,840 --> 01:15:43,280
Speaker 3: a wonderful creepy scene where she's walking around in the

1411
01:15:43,360 --> 01:15:46,560
Speaker 3: darkened museum amongst the exhibits and all these scenes of

1412
01:15:46,680 --> 01:15:49,320
Speaker 3: murder and stuff, and she's calling out Scot Scott, and

1413
01:15:49,400 --> 01:15:53,679
Speaker 3: meanwhile Charles Bronson is creeping around. There's one point where

1414
01:15:54,120 --> 01:15:56,559
Speaker 3: you see a wax head that you think, or you

1415
01:15:56,600 --> 01:15:58,280
Speaker 3: see what you think is a wax head, but it's

1416
01:15:58,320 --> 01:15:59,920
Speaker 3: really Charles Bronson's actual head.

1417
01:16:00,720 --> 01:16:03,519
Speaker 1: Yeah, great fake out, and there's.

1418
01:16:03,520 --> 01:16:06,120
Speaker 3: There's a Kathy hair reveal. She like goes up to

1419
01:16:06,240 --> 01:16:09,040
Speaker 3: the sculpture of Joan of arcause she pulls the wig

1420
01:16:09,080 --> 01:16:12,080
Speaker 3: off and it's Kathy's real blonde hair underneath. All has

1421
01:16:12,080 --> 01:16:16,200
Speaker 3: come delight, that's right. And of course she's confronted here

1422
01:16:16,280 --> 01:16:19,759
Speaker 3: by Charles Bronson and by Vincent Price.

1423
01:16:20,240 --> 01:16:22,600
Speaker 1: Now we get one of the great scenes in this

1424
01:16:22,720 --> 01:16:25,839
Speaker 1: sequence that is also pretty much blow for blow exactly

1425
01:16:25,840 --> 01:16:28,759
Speaker 1: what happens in the nineteen thirties picture as well, where

1426
01:16:29,280 --> 01:16:31,599
Speaker 1: Vincent Price is there. He first of all, he gets

1427
01:16:31,680 --> 01:16:35,400
Speaker 1: up out of his wheelchair. So Vincent Price's character here

1428
01:16:35,479 --> 01:16:41,880
Speaker 1: is actually guilty of what the dude accuses the Big

1429
01:16:41,960 --> 01:16:46,080
Speaker 1: Lebowski off in the Big Lebowski. Oh, he can clearly walk.

1430
01:16:46,120 --> 01:16:48,520
Speaker 1: He's just using the wheelchair as part of this disguise.

1431
01:16:48,640 --> 01:16:49,360
Speaker 3: He's faking it.

1432
01:16:49,439 --> 01:16:52,919
Speaker 1: Yeah, he's faking it. But then she tries to struggle

1433
01:16:53,000 --> 01:16:55,479
Speaker 1: against him, and she hits him in the face a

1434
01:16:55,479 --> 01:16:59,000
Speaker 1: couple of times, and when she does it like smashes

1435
01:16:59,040 --> 01:17:03,840
Speaker 1: open his wax in false face, this wax face that

1436
01:17:03,880 --> 01:17:07,000
Speaker 1: he's wearing that makes him look like Vincent Price and

1437
01:17:07,120 --> 01:17:11,320
Speaker 1: reveals this heavily scarred visage beneath. It's a wonderful moment.

1438
01:17:11,320 --> 01:17:13,600
Speaker 1: It was a great moment in the original film, but

1439
01:17:13,760 --> 01:17:17,679
Speaker 1: this movie actually improves upon it with even better makeup,

1440
01:17:17,720 --> 01:17:19,920
Speaker 1: with this amazing full color makeup.

1441
01:17:20,280 --> 01:17:23,519
Speaker 3: Agree excellent reveal. It's not much of a surprise because

1442
01:17:23,560 --> 01:17:26,320
Speaker 3: I mean, again, who else would this melted guy be, like,

1443
01:17:26,360 --> 01:17:29,120
Speaker 3: you know, it's got to be Vincent Price. But yeah,

1444
01:17:29,160 --> 01:17:32,040
Speaker 3: a wonderful scene. And then this leads up to the

1445
01:17:32,120 --> 01:17:35,840
Speaker 3: ending where now Sue is you know, she's basically she

1446
01:17:36,040 --> 01:17:38,880
Speaker 3: has been tied to the train tracks by snidely whiplash.

1447
01:17:38,960 --> 01:17:42,479
Speaker 3: In this case, she is laying down on the table

1448
01:17:42,600 --> 01:17:45,000
Speaker 3: in the basement of the wax Museum under the big

1449
01:17:45,120 --> 01:17:49,680
Speaker 3: vat of boiling wax. So because the plan is that

1450
01:17:49,800 --> 01:17:52,400
Speaker 3: Jared is going to waxify Sue and turn her into

1451
01:17:52,479 --> 01:17:54,879
Speaker 3: his new Marie Antoinette while she's still alive.

1452
01:17:55,320 --> 01:17:57,800
Speaker 1: Yeah, and you know, despite this being very much like

1453
01:17:57,840 --> 01:18:02,320
Speaker 1: a Code approved film, we have implied nudity here. She's

1454
01:18:02,360 --> 01:18:04,559
Speaker 1: supposed to be nude in there, and of course, you

1455
01:18:04,560 --> 01:18:07,200
Speaker 1: know we'd never see any of the nudity, but it's

1456
01:18:07,200 --> 01:18:10,519
Speaker 1: heavily implied. And later like when she's rescued, somebody has

1457
01:18:10,560 --> 01:18:11,559
Speaker 1: to throw a coat over.

1458
01:18:11,400 --> 01:18:15,519
Speaker 3: Her, implied nudity being a hilarious content warning that we

1459
01:18:15,600 --> 01:18:20,040
Speaker 3: once saw on the IMDb parental guide. Yes, I mean,

1460
01:18:20,160 --> 01:18:23,679
Speaker 3: isn't the presence of any human body technically a case

1461
01:18:23,680 --> 01:18:24,799
Speaker 3: of implied nudity?

1462
01:18:24,800 --> 01:18:30,920
Speaker 1: It's like there somewhere, Yeah, so is the film Wine.

1463
01:18:30,920 --> 01:18:33,320
Speaker 1: So it's close here. They do a great job building

1464
01:18:33,320 --> 01:18:36,880
Speaker 1: the tension. We have these these dual scenes going on

1465
01:18:37,080 --> 01:18:40,680
Speaker 1: where there's the battle against Igor on one hand, and

1466
01:18:40,720 --> 01:18:43,679
Speaker 1: then there's Jared's wax preparations for Sue in the basement.

1467
01:18:44,320 --> 01:18:49,040
Speaker 1: I thought both sequences were really skillfully composed and cut

1468
01:18:49,080 --> 01:18:49,679
Speaker 1: together here.

1469
01:18:50,439 --> 01:18:53,200
Speaker 3: Yes, I agree, very tense sequence. Sue is in the

1470
01:18:53,200 --> 01:18:56,559
Speaker 3: basement about to be waxed alive Scott. Meanwhile, he gets

1471
01:18:56,560 --> 01:18:58,679
Speaker 3: in the fight with Charles Bronson and then Charles Bronson

1472
01:18:58,720 --> 01:19:02,720
Speaker 3: wins and then puts him in the guillotine to guillotine him.

1473
01:19:02,960 --> 01:19:05,519
Speaker 3: And then at the last moment they are saved by

1474
01:19:05,520 --> 01:19:09,320
Speaker 3: the arrival of the police, which you know, that's a classic.

1475
01:19:09,320 --> 01:19:13,760
Speaker 3: It's a very fifties movie kind of ending, one that

1476
01:19:13,800 --> 01:19:17,879
Speaker 3: I always find incredibly unsatisfying. The hero and the heroine

1477
01:19:17,920 --> 01:19:21,160
Speaker 3: do not find a way to best the villain of

1478
01:19:21,200 --> 01:19:24,280
Speaker 3: their own accord. They have to be rescued by the authorities.

1479
01:19:25,400 --> 01:19:28,280
Speaker 3: I don't know. I don't know why. I wonder if

1480
01:19:28,320 --> 01:19:32,479
Speaker 3: audiences in the fifties found that as unsatisfying as I

1481
01:19:32,520 --> 01:19:35,599
Speaker 3: think most people probably would today or for the time.

1482
01:19:35,640 --> 01:19:37,479
Speaker 3: It's just like, oh, okay, yeah, good, you know, the

1483
01:19:37,520 --> 01:19:42,200
Speaker 3: police saved the day. It like it robs us of

1484
01:19:42,240 --> 01:19:46,960
Speaker 3: a certain kind of resolution to the dynamic between the characters.

1485
01:19:46,960 --> 01:19:50,800
Speaker 3: If you don't see a way for the good characters

1486
01:19:50,840 --> 01:19:53,479
Speaker 3: to save themselves, they just you know, dios x machin

1487
01:19:53,520 --> 01:19:54,600
Speaker 3: it basically.

1488
01:19:54,680 --> 01:19:57,639
Speaker 1: Yeah, yeah, I mean, it's it's basically like Tarantula, where

1489
01:19:57,720 --> 01:20:00,479
Speaker 1: all right, Colin Clint Eastwood in a jet fighter, a

1490
01:20:00,560 --> 01:20:02,599
Speaker 1: character that we haven't seen before, is going to save

1491
01:20:02,640 --> 01:20:04,439
Speaker 1: the day by blowing up the giant spider.

1492
01:20:04,760 --> 01:20:06,560
Speaker 3: I mean, I guess it's not quite a day of

1493
01:20:06,600 --> 01:20:08,200
Speaker 3: sex mank in it to be fair, because we have

1494
01:20:08,280 --> 01:20:10,880
Speaker 3: seen the police investigating up to this point, so like

1495
01:20:10,920 --> 01:20:14,400
Speaker 3: there's a plot line of them figuring out what's going

1496
01:20:14,439 --> 01:20:17,559
Speaker 3: on and getting there to that moment so that they

1497
01:20:17,560 --> 01:20:19,439
Speaker 3: don't show up from out of nowhere, But we're not

1498
01:20:19,479 --> 01:20:22,519
Speaker 3: really invested in the police characters. So I don't know,

1499
01:20:22,520 --> 01:20:24,519
Speaker 3: it's just it's just not quite the same as it

1500
01:20:24,560 --> 01:20:27,720
Speaker 3: would be if Sue or Scott themselves figured out a

1501
01:20:27,720 --> 01:20:28,360
Speaker 3: way out of this.

1502
01:20:28,840 --> 01:20:32,439
Speaker 1: I guess it's ultimately in the grander cinematic tradition. It's

1503
01:20:32,800 --> 01:20:35,280
Speaker 1: it's great to have that trope, though, because when that

1504
01:20:35,360 --> 01:20:39,160
Speaker 1: trope is later subverted in films it can be especially

1505
01:20:39,200 --> 01:20:42,200
Speaker 1: delightful and mean, with one of the prime examples, of

1506
01:20:42,200 --> 01:20:46,559
Speaker 1: course being like Hitchcock's Psycho, where the picture lets you

1507
01:20:46,640 --> 01:20:51,679
Speaker 1: know clearly that the you know, whatever rescue you thought

1508
01:20:51,720 --> 01:20:54,080
Speaker 1: was gonna come is is maybe not going to work

1509
01:20:54,120 --> 01:20:59,559
Speaker 1: after all. So when police intervention fails in later pictures,

1510
01:20:59,600 --> 01:21:02,360
Speaker 1: it maybe it hits a little harder. I don't know.

1511
01:21:02,680 --> 01:21:05,120
Speaker 3: There's a really good twist that inverts that in Silence

1512
01:21:05,160 --> 01:21:09,519
Speaker 3: of the Lambs. Oh yeah, yeah, yeah, like where you

1513
01:21:09,600 --> 01:21:12,599
Speaker 3: think the cops are showing up to conclude the plot,

1514
01:21:12,640 --> 01:21:15,040
Speaker 3: but in fact the heroine is on her own.

1515
01:21:15,400 --> 01:21:17,320
Speaker 1: Right, Yeah, they're they're hitting the wrong house.

1516
01:21:17,400 --> 01:21:21,200
Speaker 3: Yeah, but anyway, authority saving the day aside. It is

1517
01:21:21,240 --> 01:21:23,400
Speaker 3: a really tense ending and I think it works great

1518
01:21:23,439 --> 01:21:24,479
Speaker 3: for the most part, and.

1519
01:21:24,479 --> 01:21:26,960
Speaker 1: There's a lot more Grapplert like when they when they

1520
01:21:27,240 --> 01:21:31,360
Speaker 1: when they arrest Igor, he's about to suplex a cop.

1521
01:21:31,800 --> 01:21:33,400
Speaker 1: And then I don't know if you noticed, but when

1522
01:21:33,640 --> 01:21:36,960
Speaker 1: Vincent Price's character is fighting off the authorities, at one

1523
01:21:36,960 --> 01:21:39,679
Speaker 1: point he like picks a dude up like he's gonna

1524
01:21:40,080 --> 01:21:43,000
Speaker 1: throw him into the wax. And of course we know

1525
01:21:43,040 --> 01:21:44,560
Speaker 1: who's going in that wax.

1526
01:21:44,720 --> 01:21:46,559
Speaker 3: Right, I mean, it's the end you know is coming.

1527
01:21:46,720 --> 01:21:49,559
Speaker 3: It's it's kind of like it's Chekhov's gun. If there's

1528
01:21:49,600 --> 01:21:52,400
Speaker 3: gun on the mantelpiece, it will probably be fired. If

1529
01:21:52,439 --> 01:21:55,320
Speaker 3: there is a what would you call it, an open

1530
01:21:55,520 --> 01:21:59,840
Speaker 3: topped large container of some kind of deadly liquid, whether

1531
01:21:59,840 --> 01:22:03,360
Speaker 3: that that's a pool with piranhas in it or boiling

1532
01:22:03,439 --> 01:22:07,559
Speaker 3: acid or boiling wax, the villain has got to fall in.

1533
01:22:07,560 --> 01:22:10,240
Speaker 1: It, exactly. I mean, that's what it's there for. We

1534
01:22:10,280 --> 01:22:12,800
Speaker 1: want that spectacle even if there's and in this case,

1535
01:22:13,040 --> 01:22:16,360
Speaker 1: there's nothing really gory afterwards, like you don't see a

1536
01:22:16,439 --> 01:22:20,120
Speaker 1: skeleton rising to the surface or anything like that. We

1537
01:22:20,200 --> 01:22:25,280
Speaker 1: don't see a wax cocooned Vincent Price, you know, falling

1538
01:22:25,360 --> 01:22:28,439
Speaker 1: under the floor or anything. But just the spectacle of him,

1539
01:22:28,800 --> 01:22:31,679
Speaker 1: of somebody landing in that stuff is enough.

1540
01:22:31,880 --> 01:22:34,160
Speaker 3: Yeah, that's not the stinger at the end. Instead, the

1541
01:22:34,520 --> 01:22:37,559
Speaker 3: epilogue is just them at the police station with Sue

1542
01:22:37,600 --> 01:22:39,720
Speaker 3: being like, thank you for putting your coat over my

1543
01:22:39,840 --> 01:22:40,519
Speaker 3: naked body.

1544
01:22:40,640 --> 01:22:41,200
Speaker 1: The end.

1545
01:22:41,920 --> 01:22:46,240
Speaker 3: Yeah, that was a strange comment to end on.

1546
01:22:46,400 --> 01:22:49,719
Speaker 1: But yeah, yeah, but they got to send the folks

1547
01:22:49,760 --> 01:22:53,640
Speaker 1: home happy, you know, the whole family came out, the

1548
01:22:53,640 --> 01:22:56,240
Speaker 1: whole family. But at least people made the effort to

1549
01:22:56,680 --> 01:22:58,840
Speaker 1: come to the big theater to get the big theater

1550
01:23:00,000 --> 01:23:06,080
Speaker 1: experience with all this wonderful sound, three D effects. They

1551
01:23:06,080 --> 01:23:08,280
Speaker 1: need to go home happy, so they'll come back next

1552
01:23:08,280 --> 01:23:11,200
Speaker 1: time and watch more three D Warner Brothers pictures.

1553
01:23:11,800 --> 01:23:14,559
Speaker 3: Yeah, if they ever re released this again in three D,

1554
01:23:14,680 --> 01:23:17,080
Speaker 3: I would absolutely go to a theater to watch it

1555
01:23:17,120 --> 01:23:18,799
Speaker 3: in three D. I think that would be a blast.

1556
01:23:19,120 --> 01:23:23,720
Speaker 1: Absolutely. Yeah, yeah, I really left this movie and the

1557
01:23:23,760 --> 01:23:27,719
Speaker 1: research wanting to have the really for the first time

1558
01:23:28,520 --> 01:23:32,000
Speaker 1: perhaps ever, really wanting to have a proper three D

1559
01:23:32,280 --> 01:23:37,160
Speaker 1: cinema experience with whatever technology I can get my hands on,

1560
01:23:37,280 --> 01:23:39,720
Speaker 1: so that the next time there's like a strong I

1561
01:23:39,760 --> 01:23:41,880
Speaker 1: would I mean, obviously I would love to see this

1562
01:23:41,960 --> 01:23:45,439
Speaker 1: picture re released in modern three D or some form

1563
01:23:45,479 --> 01:23:47,200
Speaker 1: of three D in the theater, but I'll settle for

1564
01:23:47,200 --> 01:23:49,120
Speaker 1: anything at this point, almost anything.

1565
01:23:50,240 --> 01:23:52,519
Speaker 3: All right, does that do it for House of Wax?

1566
01:23:53,320 --> 01:23:55,639
Speaker 1: I believe that will. We'll go ahead and seal off

1567
01:23:55,680 --> 01:23:59,040
Speaker 1: the wax canister on this one, but we'll be back

1568
01:23:59,040 --> 01:24:02,080
Speaker 1: next week with one three D picture. What'll it be?

1569
01:24:02,160 --> 01:24:04,080
Speaker 1: I don't know. We're still looking around at things. I've

1570
01:24:04,080 --> 01:24:08,599
Speaker 1: got another disc to check out here, so tune in

1571
01:24:08,720 --> 01:24:11,760
Speaker 1: and find out. In the meantime, if you want to

1572
01:24:11,800 --> 01:24:14,920
Speaker 1: hear more Weird House Cinema, well, we put this out

1573
01:24:14,960 --> 01:24:17,320
Speaker 1: every Friday and the Stuff to Blow your Mind podcast

1574
01:24:17,360 --> 01:24:19,880
Speaker 1: feed We're primarily a science podcast, but on Fridays we

1575
01:24:19,920 --> 01:24:23,040
Speaker 1: set aside most serious concerns to just talk about a

1576
01:24:23,080 --> 01:24:25,559
Speaker 1: weird film. If you want to see a complete list

1577
01:24:25,600 --> 01:24:27,600
Speaker 1: of the films that we've covered on the show, we

1578
01:24:27,640 --> 01:24:29,439
Speaker 1: can go to letterbox dot com as L E T

1579
01:24:29,520 --> 01:24:31,519
Speaker 1: T E R B O x D. We have a

1580
01:24:31,600 --> 01:24:34,880
Speaker 1: user account there called Weird House, and on that account

1581
01:24:34,880 --> 01:24:37,559
Speaker 1: you'll find a list in order all the films we've covered.

1582
01:24:38,200 --> 01:24:39,599
Speaker 1: It's pretty fun to check out.

1583
01:24:39,840 --> 01:24:43,400
Speaker 3: Huge thanks to our audio producer JJ Posway. If you

1584
01:24:43,439 --> 01:24:45,599
Speaker 3: would like to get in touch with us with feedback

1585
01:24:45,680 --> 01:24:48,040
Speaker 3: on this episode or any other to suggest a topic

1586
01:24:48,080 --> 01:24:50,120
Speaker 3: for the future, or just to say hello. You can

1587
01:24:50,160 --> 01:24:53,080
Speaker 3: email us at contact at stuff to Blow your Mind

1588
01:24:53,200 --> 01:25:00,120
Speaker 3: dot com.

1589
01:25:00,439 --> 01:25:03,360
Speaker 2: Stuff to Blow Your Mind is production of iHeartRadio. For

1590
01:25:03,439 --> 01:25:07,280
Speaker 2: more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

1591
01:25:07,360 --> 01:25:09,160
Speaker 2: or wherever you listen to your favorite shows.