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Speaker 1: Welcome to Stuff to Blow Your Mind, a production of iHeartRadio.

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Speaker 2: 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 going

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Speaker 3: to say House of Wax is in almost every way

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

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Speaker 3: Both are great, camp, be fun, but House of Waxes

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

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Speaker 3: a way that that Treasure is not.

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Speaker 2: Oh absolutely, a House of Wax is a is in

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Speaker 2: a league all its own compared to Treasure of the

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Speaker 2: Four Crowns. And we'll get into that. It's it's I mean,

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Speaker 2: it's it's an important three D film. It is a

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Speaker 2: three D film that that very much holds up to

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Speaker 2: subsequent viewing in subsequent decades, regardless of whether you're watching

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Speaker 2: it in three D or two D.

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Speaker 3: Yeah, that's another thing I was going to say. So

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Speaker 3: very different approaches to three D here. As we mentioned

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Speaker 3: last time, we were watching these three D movies the

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Speaker 3: same way almost everybody does today, meaning in two D.

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Speaker 3: Most people do not have the requisite home video playback

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Speaker 3: equipment necessary to experience high quality three D at home.

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Speaker 3: So and we even looked into that. It's like, what

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Speaker 3: do you need to watch most of these movies in

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Speaker 3: three D today? I mean with a lot of them,

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Speaker 3: you actually need the three D Blu ray player, the

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Speaker 3: three D TV and the glasses or I don't know.

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Speaker 3: So we didn't mess around with all that because most

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Speaker 3: people are not going to see the movies like that today.

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Speaker 2: Yeah, now we tried. I went to Atlanta's only video store,

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Speaker 2: Video Drome, and I was talking with Matt there, the

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Speaker 2: guy runs it, and we were looking at we were

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Speaker 2: looking at DVD cases and Blu ray cases. He had

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Speaker 2: a tub of three D glasses he was getting out,

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Speaker 2: and we basically just came to the realization that you

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Speaker 2: have most of these that are available on Blu ray

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Speaker 2: or DVD, you can't even use any kind of like

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Speaker 2: at home glasses scenario. Your only option for at home

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Speaker 2: three D viewing with most of the titles is to

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Speaker 2: get yourself a big, you know, big fancy three D

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Speaker 2: Blu ray player, three D television. And even then those

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Speaker 2: are bits of technology that are going that are kind

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Speaker 2: of out of fad at the moment. So we're already

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Speaker 2: past that particular 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 to always seems to come in waits, it'll

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Speaker 3: ebb and flow. But for the most part, I think

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

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

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

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

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

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Speaker 3: haunt our world as a two D shadow of their

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Speaker 3: former selves. And the essential question to ask about a

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Speaker 3: movie like this is does it hold up in both

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Speaker 3: forms or is this something that's really only enjoyable in

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

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Speaker 3: of the Four Crowns was fun for I don't know

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

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Speaker 3: also the most three D movie ever made. It is

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

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Speaker 3: the three D element, you are left with an incredibly

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Speaker 3: strange film experience, like half of the runtime just things

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Speaker 3: poking at the camera for no reason and not actually

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Speaker 3: coming out of the screen at you.

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Speaker 2: Yeah. Absolutely, Four Grounds is basically an amusement park ride

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Speaker 2: with some resemblance to cinema, whereas this film is an

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Speaker 2: illegitimate but piece of cinema that also has three D

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Speaker 2: elements that are not just a little extras but also

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Speaker 2: add to the immersion factor.

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

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

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Speaker 3: gratuitous three D effects shots, such as the paddleball Man.

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Speaker 3: We'll get to that later. On the paddle Ball Man.

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

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

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

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Speaker 3: the movie functions on home video as a normal piece

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Speaker 3: of cinema, you could forget that it was a three

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Speaker 3: D movie except for a couple of little moments.

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Speaker 2: Absolutely, it's also a movie that captured and continues to

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Speaker 2: capture people's imaginations outside of the three D scenario. Just

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Speaker 2: one quick example of this, and this was brought up

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Speaker 2: in an excellent documentary that's on the the the Blu

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Speaker 2: ray for a House of Wax that I watched that

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Speaker 2: have rented from Video Drum. It's titled House of Wax.

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Speaker 2: Unlike anything you've seen before. It was produced in twenty thirteen,

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Speaker 2: and like one of the people they interviewed there pointed

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Speaker 2: out that like the magazine Famous Monsters of Film Land

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Speaker 2: had this really gorgeous painting illustration of the monstrous Vincent

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Speaker 2: Price character on the front. You know it was. It

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Speaker 2: really resonated with film fans and horror enthusiasts of the

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Speaker 2: day and subsequent generations to follow you and today as well.

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Speaker 2: So it created an iconic villain, iconic character. Really, as

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Speaker 2: we'll discuss, he's a little more complicated than just a

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Speaker 2: pure villain. But yeah, capture people imagination. And then the

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Speaker 2: three D added to the immersion experience when you actually

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Speaker 2: went and saw it in the initial three D run

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Speaker 2: or one of the subsequent three D runs, either in

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Speaker 2: theater or on home 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 2: Right. It's one of the things that makes especially gothic

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Speaker 2: horror films more impactful. I mean, it's it's one of

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Speaker 2: the reasons that so many of the Paul Nashi Spanish

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Speaker 2: horror films are so great. It's because, you know, there

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Speaker 2: are obviously budget limitations in those films, and plenty of

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Speaker 2: other limitations as well. But Nashi loved the gothic horror films.

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Speaker 2: He loved the monsters that you also felt sympathy for,

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Speaker 2: that you related to on some level, that had this

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Speaker 2: outsider status. And so that's very much in play in

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Speaker 2: this film.

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

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

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

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

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

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

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Speaker 3: the heroes, I don't know, or are you going to

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Speaker 3: be like, Wow, I'm really rooting for the cop who's

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Speaker 3: trying to catch him, or I'm really rooting for Scott

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Speaker 3: the Sculptor.

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Speaker 2: Yeah, Vincent Price had that special kind of energy that

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Speaker 2: certainly in a film like this he ends up attracting

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Speaker 2: all of your sympathy and attention. But even in later

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Speaker 2: for films we've discussed in the show before, even if

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Speaker 2: he has a smaller part versus other noteworthy character actors

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Speaker 2: and horror icons, there's just something about Price that no

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Speaker 2: one else can can equal. You know, there's a likability

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Speaker 2: factor there that is missing in some of the even

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Speaker 2: some of the other greats of the of the era,

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Speaker 2: you know, like a Christopher Lee or something. You know,

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Speaker 2: like there's a charm, there's a set I mean, Christopher

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Speaker 2: Lee had his own charm, his own charisma going on.

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Speaker 2: 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 2: Now, that documentary House of Wax unlike anything you've seen before,

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Speaker 2: great job breaking down the picture's place in cinema history

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Speaker 2: and includes some great interview clips from the likes of

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Speaker 2: Martin Scorsese, who holds this up as one of the

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Speaker 2: greatest three D pictures ever made. Rick Baker. Of course,

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Speaker 2: the special effects makeup Wizard, Wes Craven, Joe Dante, Larry Cohen,

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Speaker 2: and also Victoria Price and Price is doctor, and I

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Speaker 2: think some of the key facts that they drive home

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Speaker 2: about three D in this film from the documentary are

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Speaker 2: as follows. So, first of all, this was produced to

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Speaker 2: this film nineteen fifty three. House of Wax was produced

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Speaker 2: during a time in which the audiences were moving out

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Speaker 2: to the suburbs, away from the big theaters, and on

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Speaker 2: top of that, more people were staying home to watch

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Speaker 2: things on TV. So three D was the in this

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Speaker 2: case was the big studio gamble in this case from

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Speaker 2: Warner Brothers to get people back in the theater, give

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Speaker 2: them a well funded, artistically solid, technologically groundbreaking full color

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Speaker 2: 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 2: Right. Yeah, And you know, this is something that theaters

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Speaker 2: would come back to and continue to do and have

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Speaker 2: done in recent years as well. In this case, in

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Speaker 2: fifty three, it absolutely worked. This film was a big hit.

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Speaker 2: It ushered in a three D boom that would prove

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Speaker 2: profitable for according to the documentary, at least a year

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Speaker 2: and a half. So even then it's still kind of

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Speaker 2: a flash in the pan, but enough for some films

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Speaker 2: to come in to make some money. And then it,

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Speaker 2: you know, three D dies back down again, but comes

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Speaker 2: back up in the seventies, in the eighties, et cetera. Now,

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Speaker 2: this was also the first three D film with stereophonic

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Speaker 2: sound to be presented in a regular theater, and in

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Speaker 2: regular we'll put an asterisk by that. And it was

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Speaker 2: also the first color three D feature film from a

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Speaker 2: major American studio. The sound on this baby was supposedly

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Speaker 2: amazing if you saw it in the right theater. It

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Speaker 2: even had its own screen track that was projected from

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Speaker 2: the back of the theater, which I can I can

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Speaker 2: only kind of imagine what that was like. But the

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Speaker 2: way they were describing it is that like it made

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Speaker 2: any screams in the film like throw you off a

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Speaker 2: little bit more just because of the way the sound

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Speaker 2: 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 2: Sometimes Vincent Price was in the theater, according to way

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Speaker 2: of the much but yeah, a couple of interviews I

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Speaker 2: think I think this is one from his daughter pointed

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Speaker 2: out that as this was showing in New York City,

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Speaker 2: he was in a play in New York and he

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Speaker 2: would sometimes go to the theater to see how people

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Speaker 2: were reacting. And something he enjoyed doing was was seating

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Speaker 2: himself behind some like it, like a pair of young

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Speaker 2: women who were watching the show and were you know,

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Speaker 2: freaking out at all the scares. And then afterwards he

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Speaker 2: would lean forward and say, did you enjoy it? And

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Speaker 2: freak them out? So sometimes you got that additional level.

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Speaker 3: Of three, d oh, that's so good. Oh hey, listeners,

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Speaker 3: were you in the theater in nineteen fifty three and

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Speaker 3: startled by Vincent Price in person?

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Speaker 2: Right in? If so, certainly, I'd love to hear from

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Speaker 2: anyone who has experiences from watching you know, yeah, anybody

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Speaker 2: saw any of these three D films back in the fifties,

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Speaker 2: definitely right in but also subsequent generations of three D.

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Speaker 2: They also included a lot of technical information about it

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Speaker 2: that I found really interesting. So this shoot, the shoot

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Speaker 2: for this film utilized Julian and Milton Gunsbird's Natural Vision

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Speaker 2: three D system, the same one that was used for

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Speaker 2: Buana Devil in fifty two. This is one that we

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Speaker 2: actually referenced this briefly in the last episode because Ebert

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Speaker 2: alluded to it as being like a very gimmicky throw

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Speaker 2: stuff at the camera sort of three D picture. Anyway,

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Speaker 2: the rig for this involved two cameras aimed at each

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Speaker 2: other with mirrors, then positioned at around the distance of

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Speaker 2: human eyes facing forward towards what you're filming. And this

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Speaker 2: was like a big rig. You can look up images

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Speaker 2: of it. It's a monster of a like a double camera.

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Speaker 2: And then in theaters you had to have two projectors

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Speaker 2: going at once, each projecting one of these two reels

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Speaker 2: of film. The resulting film, of course, after editing and

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Speaker 2: so forth. Scorsese commented on just how complex in the documentary,

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Speaker 2: commented on just how complex this was for projectionists, because

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Speaker 2: if you had you had an error occur on one projector,

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Speaker 2: then you had to stop the other, and then you

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Speaker 2: had to make make sure they were syncing up, because

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Speaker 2: according to Scorsese, it was just absolutely brain breaking to

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Speaker 2: watch if you got those two reels out of sync

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Speaker 2: and of Courtunately, the audience was wearing glasses for all of.

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Speaker 3: This, watching the movie in double but one is like

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

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Speaker 2: Yeah. Now, House of Wax was later reissued in nineteen

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Speaker 2: seventy one using Chris Condon's single strip stereo vision three

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Speaker 2: D format, and the film is very well shot, makes

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Speaker 2: great use of depth that you can certainly get just

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Speaker 2: watching the film in two D, but was apparently even

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Speaker 2: more impressive in three D. And yeah, it gets a

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Speaker 2: little gimmicky in a few places. They they don't completely

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Speaker 2: they're not too good for three D. They embrace the

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Speaker 2: spectacle of three D where appropriate, incorporating three D elements

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Speaker 2: where appropriate, But more than anything, they use the three

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Speaker 2: D as an immersive element of the cinematic storytelling. All right, Joe,

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Speaker 2: what's the elevator pitch for this one?

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Speaker 3: What are you all right? Vincent Price plays Professor Henry Jared,

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Speaker 3: a man who renders exquisitely beautiful in lifelike sculptures of

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

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Speaker 3: destroyed in a fire by a scheming business partner, a

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Speaker 3: disfigured and devastated Jared emerges from the ashes to turn

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

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Speaker 2: All right, we're going to listen to just a little

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Speaker 2: tiny bit of this trailer. But this is one of

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Speaker 2: those trailers that features no voiceover, no dialogue, no sound

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Speaker 2: from the film, just music, and not even pictures or

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Speaker 2: images from the film, just some some cards that come

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Speaker 2: up that say you heard about it, and then you

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Speaker 2: take that in, you read about it, and then you

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Speaker 2: take that in. You may even think you've seen it.

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Speaker 2: And that I think may be an allusion to the

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Speaker 2: fact that this is a remake, and we'll get into

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Speaker 2: that in a bed. But anyway, it goes on and on.

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Speaker 2: Let's just hear just a little bit to that music.

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Speaker 2: All right, all right, that's enough, that's enough. That's all

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Speaker 2: you need 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 2: I guess, I guess you know they're reading the newspapers.

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Speaker 2: They're getting excited about about this film. I mean, you know,

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Speaker 2: Lord knows Warner Brothers was promoting it, trying to get

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Speaker 2: people excited coming back to the theaters. So yeah, if.

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Speaker 3: There wasn't like a Fangoria blog in nineteen fifty three, All.

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Speaker 2: Right, where is this playing? If you want to go

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Speaker 2: out and watch it before listening to the rest of

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Speaker 2: this episode, Well, it's highly available to rent or stream digitally,

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Speaker 2: and I think it's streaming on Turner Classic Movies service.

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Speaker 2: I honestly, I didn't think they even had a service,

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Speaker 2: but they do apparently based on what I was looking

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Speaker 2: at the Blu ray for This is great, but as

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Speaker 2: we'll discuss, the tragedy is that this film was made

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Speaker 2: to be experienced in three D in the theater, and

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Speaker 2: it's just not an option for most viewers of the

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Speaker 2: film today. Luckily, as we've been saying, it's still very

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Speaker 2: enjoyable and historically important regardless of how you're seeing it,

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Speaker 2: So it totally holds up in two D, and it's

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Speaker 2: a lot of fun. All right, Well, let's get into

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Speaker 2: the cast and crew behind this picture. First of all,

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Speaker 2: at the top directing it is Andre de Toaff, who

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Speaker 2: lived 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 2: No, he has a brief cameo in Wes Craven's Spontaneous

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Speaker 2: Combustion from nineteen ninety starring Brad Dorif that we watched on.

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Speaker 3: The show Wes Craven. Wait a minute, Spontaneous Combustion was

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Speaker 3: Toby Hooper wasn't.

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Speaker 2: Oh I'm sorry. I'm sorry Toby Hooper. I think I

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Speaker 2: threw me off, Because, of course Wes Craven is in

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Speaker 2: that documentary Toby Hooper directed Spontaneous Combustion.

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

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

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Speaker 2: Yeah, but obviously Toby Hooper, I think what we're going

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Speaker 2: to take from all this is he would have been

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Speaker 2: a fan of this movie as well. This was a

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Speaker 2: movie that cast a long shadow and influenced a lot

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Speaker 2: of the people that would go on to be subsequent

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Speaker 2: generations of horror filmmakers. So Andre de taf was a

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Speaker 2: Hungarian American director who was of solid hand in the

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Speaker 2: Warner Brothers system. He'd been directing since nineteen thirty nine,

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Speaker 2: and I believe he'd worked mostly on thrillers, dramas, general

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Speaker 2: action pick you know, some Westerns and so forth. But again,

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Speaker 2: solid hand, very technically proficient, and this would, I believe,

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Speaker 2: be the only horror film he'd ever direct. He later

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Speaker 2: served as second unit director on seventy eight Superman, nineteen

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Speaker 2: sixty five, Thunderball. In nineteen sixty two's Lawrence of Arabia.

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Speaker 2: It's often pointed out that Detoth had only one eye.

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Speaker 2: He wore an eye patch. Most images you look up

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Speaker 2: of him are going to be him wearing an eye patch,

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Speaker 2: So that means that he himself could not see in

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Speaker 2: three dimensions. He couldn't see in three D, but he

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Speaker 2: had a great head for optics and cinema, so it

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Speaker 2: was hardly a limiting factor. Now. Interestingly enough, the studio

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Speaker 2: Warner Brothers asked Detath not to wear his eye patch

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Speaker 2: while working on and later promoting the picture, because they

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Speaker 2: didn't want the public to think about their big three

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Speaker 2: D film that was going to revitalize everything, as they

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Speaker 2: didn't want them to associate it with a one eyed man.

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Speaker 3: That's mean.

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Speaker 2: Yeah, and from what they said in the documentary, to

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Speaker 2: Tot was in general not the so guy that would

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Speaker 2: normally have put up with this kind of request. But

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Speaker 2: he apparently agreed. He didn't wear the eye patch because

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Speaker 2: he just he really wanted to make the picture and

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Speaker 2: realized that he needed, I guess to play Paul with

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Speaker 2: Warner Brothers on this this one thing. But he yeah,

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Speaker 2: he really believed in the picture. He believed in the

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Speaker 2: three D. They said that later he would sometimes he

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Speaker 2: would go to screenings of the picture, you know, I guess,

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Speaker 2: you know they're promoting, like the director will be there,

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Speaker 2: and he would threaten to leave. He threatened to get

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Speaker 2: on a flight and go home immediately if he found

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Speaker 2: out that they weren't showing it 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 eye patch that they would worry that watching a

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Speaker 3: movie in three D would make them lose sight in

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Speaker 3: one eye.

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Speaker 2: Huh, Yeah, I don't know. I've never seen any scare

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Speaker 2: tactics about three D. Certainly you know from William Castle,

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Speaker 2: It's held plenty of scare tactics about just how frightening

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Speaker 2: a movie could be. It may kill you, but not

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Speaker 2: so much. Put an eye out.

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

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Speaker 3: be dead.

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Speaker 2: All right. The screenplay for this one was from Crane Wilbur,

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Speaker 2: who lived eighteen eighty six through nineteen seventy three, early

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Speaker 2: twentieth century actor turned writer. His other films on which

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Speaker 2: he wrote included nineteen forty eight s Cannon City, fifty

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Speaker 2: nine's The Bat, thirty six is the Devil on Horseback,

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Speaker 2: nineteen fifties, Outside the Wall, fifty threes Crime Away that

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Speaker 2: was also directed by t Toaf, and nineteen fifty four

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Speaker 2: is The Mad Magician, which was a Vincent Price three

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Speaker 2: D kind of a follow up to this picture from

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Speaker 2: another studio, but it's in black and white. It's supposed

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Speaker 2: to be fun as well. Wilber also wrote nineteen sixty

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Speaker 2: 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 two 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 2: The story credit for this one goes to Charles Belden,

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Speaker 2: who lived nineteen oh four through nineteen fifty four. Screenwriter

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Speaker 2: who was pretty active in the forties and fifties, but

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Speaker 2: his story credit on this and also on related wax

388
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Speaker 2: movies is what he's best remembered for. His original story

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Speaker 2: was adapted into nineteen thirty threes, A Mystery of the

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Speaker 2: Wax Museum. This was a follow up to a film

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Speaker 2: we watched on the show for Weird House Cinema a

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Speaker 2: while back, Doctor X, starring Lionel Atwill and Fay Ray.

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Speaker 2: This also starred Lionel Atwell and Fay Ray, with Atwill

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Speaker 2: playing the wax Master the Vincent Price role, but with

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Speaker 2: a different name.

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

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

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

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Speaker 2: It's not the same character. It's more of a you

400
00:21:56,920 --> 00:21:58,359
Speaker 2: don't think of it as sequel, but just like a

401
00:21:58,400 --> 00:22:00,760
Speaker 2: follow up where they were like, hey, you guys really

402
00:22:00,840 --> 00:22:04,480
Speaker 2: made a great kind of modern feeling two tone technicolor

403
00:22:04,800 --> 00:22:08,040
Speaker 2: gothic horror story here, but with again with modern elements

404
00:22:08,040 --> 00:22:10,760
Speaker 2: to it. Let's have another slice of that. What can

405
00:22:10,760 --> 00:22:13,360
Speaker 2: you dish up for us? And they ended up doing

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Speaker 2: Mystery of the Wax Museum and it was also directed

407
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Speaker 2: by the same director, Michael Curtis.

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

409
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Speaker 3: I from what I recall, it was only as like

410
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Speaker 3: the twist at the end that you know that you

411
00:22:26,400 --> 00:22:29,600
Speaker 3: found out about this so called synthetic flesh that was

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Speaker 3: that was more or less used like the wax, like

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Speaker 3: the wax that Vincent Price uses in this movie.

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Speaker 2: Exactly. Yeah, so there's some similar Yeah, the synthetic flash

415
00:22:39,640 --> 00:22:45,480
Speaker 2: is definitely a common element of both pictures. A Mystery

416
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Speaker 2: of the Wax Museum is a gorgeous looking two tone

417
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Speaker 2: technicolor gothic horror film has some great horror elements in it.

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Speaker 2: A number of the best moments in this film are

419
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Speaker 2: kind of just direct remakes of what occurred in that movie,

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Speaker 2: but it also has some really rough dialogue moments and

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Speaker 2: darker plot elements that absolutely wouldn't have flown in the

422
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Speaker 2: nineteen fifties, and some of these elements wouldn't fly to

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Speaker 2: get today either for good reason. So nineteen fifty three's

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Speaker 2: House of Wax is a remake and kind of a reminder.

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Speaker 2: As tired as we get of remakes, sometimes they can

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Speaker 2: be great, sometimes they can improve upon and redefine that

427
00:23:24,440 --> 00:23:28,639
Speaker 2: previous film. And it's a fairly blow for blow for

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Speaker 2: blow remake as I remember, though without the drugs, strong

429
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Speaker 2: necrophilia vibes and casual racism of the previous nineteen thirties film. Okay,

430
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Speaker 2: both films inspired a whole subgenre of wax movies, and

431
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Speaker 2: this House of Wax was very loosely, very loosely remade

432
00:23:47,680 --> 00:23:51,160
Speaker 2: in two thousand and five as House of Wax. Belden

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00:23:51,240 --> 00:23:54,480
Speaker 2: retained a story credit on that film, but it is otherwise,

434
00:23:54,960 --> 00:23:57,000
Speaker 2: it's a completely different thing, nothing to do with this

435
00:23:57,080 --> 00:23:59,880
Speaker 2: picture or the nineteen thirties picture written by the screenwriter

436
00:24:00,160 --> 00:24:02,199
Speaker 2: behind the Conjuring franchise.

437
00:24:02,200 --> 00:24:05,040
Speaker 3: Man The two thousand and five House of Wax is rough.

438
00:24:05,280 --> 00:24:09,160
Speaker 3: I tried to rewatch that a few years ago when

439
00:24:09,200 --> 00:24:12,240
Speaker 3: we did our Core episode about Wax where we talked

440
00:24:12,440 --> 00:24:16,760
Speaker 3: very briefly about this movie we're looking at today. You

441
00:24:16,840 --> 00:24:18,920
Speaker 3: deserve a prize if you can sit through the two

442
00:24:18,960 --> 00:24:22,359
Speaker 3: thousand and five movie. It is rough.

443
00:24:22,880 --> 00:24:24,560
Speaker 2: I think, as I said before, one of the big

444
00:24:24,600 --> 00:24:27,720
Speaker 2: things is, you've got to have a compelling wax Master character.

445
00:24:28,160 --> 00:24:30,280
Speaker 2: You've got to have somebody in there playing the Vincent

446
00:24:30,320 --> 00:24:33,240
Speaker 2: Price role. And if you don't, what are you doing?

447
00:24:33,320 --> 00:24:37,080
Speaker 2: What are you doing doubling down on victim characters in

448
00:24:37,119 --> 00:24:39,479
Speaker 2: your Wax movie. I don't know how much of it

449
00:24:39,520 --> 00:24:42,119
Speaker 2: we can really blame on the screenwriters here, How much

450
00:24:42,160 --> 00:24:43,520
Speaker 2: of it is the director for how much of it

451
00:24:43,560 --> 00:24:46,800
Speaker 2: is just like that's what people wanted or the studios

452
00:24:46,800 --> 00:24:49,040
Speaker 2: thought people wanted in two thousand and five.

453
00:24:49,240 --> 00:24:51,280
Speaker 3: Yeah, I think two thousand and five is the beginning

454
00:24:51,320 --> 00:24:54,000
Speaker 3: of the torture porn era. It's like Saw had come

455
00:24:54,040 --> 00:24:58,760
Speaker 3: out and people were into that, and people wanted, like,

456
00:25:00,000 --> 00:25:02,520
Speaker 3: I don't know, that vibe of the mid two thousand's

457
00:25:02,560 --> 00:25:07,600
Speaker 3: horror movie. It was like you wanted a kind of queasy, gross,

458
00:25:07,640 --> 00:25:12,640
Speaker 3: fluorescent lit scenes of like slick surfaces gleaming with blood

459
00:25:12,720 --> 00:25:16,200
Speaker 3: and bodies just being mutilated and while people scream, it

460
00:25:16,240 --> 00:25:17,560
Speaker 3: was a bad time for horror.

461
00:25:18,040 --> 00:25:22,800
Speaker 2: Yeah, but again, wax, what of these wax movies highly influential.

462
00:25:23,200 --> 00:25:26,639
Speaker 2: We could easily just do wax museum movies for like

463
00:25:27,680 --> 00:25:29,959
Speaker 2: a good couple of months, maybe three months, if we

464
00:25:30,000 --> 00:25:33,359
Speaker 2: so desired. All right, let's get to the star here.

465
00:25:33,800 --> 00:25:37,520
Speaker 2: Vincent Prize playing Professor Henry Jared Price lived nineteen eleven

466
00:25:37,560 --> 00:25:41,000
Speaker 2: through nineteen ninety three, Horror Icon. This is, I believe,

467
00:25:41,080 --> 00:25:44,280
Speaker 2: our fourth Vincent Price film, as we previously discussed. Seventy

468
00:25:44,320 --> 00:25:48,160
Speaker 2: one's The Abominable Doctor Vibes, nineteen seventy Scream and Scream Again,

469
00:25:48,600 --> 00:25:51,200
Speaker 2: and nineteen sixty four is The Mask of the Red Death.

470
00:25:51,800 --> 00:25:55,359
Speaker 2: So we're not going to really retread a lot of

471
00:25:55,400 --> 00:25:57,919
Speaker 2: what we talked about. There is basic history, except to

472
00:25:57,920 --> 00:26:01,679
Speaker 2: say that this film is extremely pivotal to Vincent Price's career.

473
00:26:02,119 --> 00:26:04,639
Speaker 2: Prior to House of Wax, he was not an actor

474
00:26:04,680 --> 00:26:08,680
Speaker 2: associated with horror films. He was like an occasional leading man,

475
00:26:08,880 --> 00:26:11,760
Speaker 2: but mostly he did secondary roles. He was, you know,

476
00:26:12,040 --> 00:26:15,080
Speaker 2: he was a very tall man. He was certainly handsome,

477
00:26:15,440 --> 00:26:17,960
Speaker 2: so he was often pushed in the leading man direction,

478
00:26:18,200 --> 00:26:21,920
Speaker 2: but I think it's like nothing like completely clicked there.

479
00:26:22,520 --> 00:26:24,600
Speaker 3: Let's see what have we talked about the Vincent Price

480
00:26:24,680 --> 00:26:28,200
Speaker 3: did before this. We certainly looked at his role as

481
00:26:28,240 --> 00:26:32,520
Speaker 3: the narrator of the nineteen forty nine TV adaptation of

482
00:26:32,640 --> 00:26:36,120
Speaker 3: Charles Dickens a Christmas Carol, which is twenty five minutes long.

483
00:26:36,160 --> 00:26:39,359
Speaker 3: It's called the Christmas Carol, and it was a half

484
00:26:39,400 --> 00:26:44,040
Speaker 3: hour television special presented by the Magnavox Corporation. And it's

485
00:26:44,560 --> 00:26:47,800
Speaker 3: let's just say that was not using Vincent Price to

486
00:26:48,040 --> 00:26:49,600
Speaker 3: the fullest extent of his talents.

487
00:26:50,200 --> 00:26:53,720
Speaker 2: Yeah, and I think even you think of like nineteen

488
00:26:53,760 --> 00:26:56,320
Speaker 2: fifties leading men too, it's like, would you want Price

489
00:26:56,400 --> 00:26:59,160
Speaker 2: to play those roles? I think clearly Price had more

490
00:26:59,200 --> 00:27:01,920
Speaker 2: to offer because most of those leading man roles in

491
00:27:01,960 --> 00:27:04,600
Speaker 2: the nineteen fifties is just not that interesting. With a

492
00:27:04,640 --> 00:27:06,879
Speaker 2: few exceptions, I mean, you did have some standout stars,

493
00:27:06,880 --> 00:27:08,840
Speaker 2: but generally they're not in the movies we watched for

494
00:27:08,920 --> 00:27:09,800
Speaker 2: weird House cinema.

495
00:27:09,880 --> 00:27:11,640
Speaker 3: Yeah, a lot of the like horror and sci fi

496
00:27:11,720 --> 00:27:15,720
Speaker 3: movies in the fifties, the quote hero often has very

497
00:27:15,720 --> 00:27:18,439
Speaker 3: little personality. He's just there to kind of be like

498
00:27:18,960 --> 00:27:21,880
Speaker 3: strong and good and punch the bad guy at the end.

499
00:27:22,320 --> 00:27:26,680
Speaker 2: Yeah, and to absolutely conform. So yeah. The other really

500
00:27:26,680 --> 00:27:29,040
Speaker 2: interesting thing that I wasn't up on this particular history

501
00:27:29,119 --> 00:27:31,000
Speaker 2: until I watched that documentary, and a lot of this

502
00:27:31,080 --> 00:27:34,200
Speaker 2: came from his daughter, is that prior to this film,

503
00:27:34,359 --> 00:27:37,760
Speaker 2: he was on the Hollywood Gray List. So we've talked

504
00:27:37,760 --> 00:27:40,320
Speaker 2: about the Blacklist before because it ended up impacting a

505
00:27:40,359 --> 00:27:45,680
Speaker 2: number of different filmmakers and actors, often leading them into

506
00:27:45,680 --> 00:27:47,879
Speaker 2: being in films that we watch in weird house cinema,

507
00:27:48,000 --> 00:27:50,480
Speaker 2: or even just completely destroying their career as they were

508
00:27:51,200 --> 00:27:56,040
Speaker 2: at the very least accused of being Communist sympathizers. The

509
00:27:56,160 --> 00:27:59,320
Speaker 2: Gray List, which I was not familiar with, This is

510
00:27:59,359 --> 00:28:01,880
Speaker 2: a list you were put on if you were automatically

511
00:28:01,960 --> 00:28:05,600
Speaker 2: you were if you opposed the Nazis before World War Two.

512
00:28:06,280 --> 00:28:10,080
Speaker 2: They interpreted that as being well, they're possibly a communist,

513
00:28:10,280 --> 00:28:12,719
Speaker 2: so let's go ahead and put him on the list. Uh.

514
00:28:12,840 --> 00:28:15,560
Speaker 3: Yeah. I think the historical term I've heard used to

515
00:28:15,600 --> 00:28:19,720
Speaker 3: refer to this as premature anti fascist, like that you

516
00:28:19,800 --> 00:28:23,919
Speaker 3: were against the fascists before the US government had essentially

517
00:28:24,000 --> 00:28:26,600
Speaker 3: given permission to be against fascism.

518
00:28:26,840 --> 00:28:31,679
Speaker 2: Yeah, So obviously confusing and illogical in many ways, but

519
00:28:32,320 --> 00:28:34,080
Speaker 2: very much a real thing at the time, to the

520
00:28:34,119 --> 00:28:37,760
Speaker 2: point that Price was apparently very concerned that his career

521
00:28:38,000 --> 00:28:40,120
Speaker 2: was over, that he was never going to work again.

522
00:28:40,200 --> 00:28:43,800
Speaker 2: He'd certainly seen plenty of his contemporaries ruined in Hollywood

523
00:28:43,800 --> 00:28:47,600
Speaker 2: by this point because of the blacklist. But as it

524
00:28:47,640 --> 00:28:50,080
Speaker 2: worked out, he ended up some FBI people came to

525
00:28:50,160 --> 00:28:53,280
Speaker 2: his house, he had to sign some documentation, and after

526
00:28:53,320 --> 00:28:56,320
Speaker 2: that he ended up having his name cleared. And once

527
00:28:56,360 --> 00:28:59,240
Speaker 2: he was cleared, he got offered two projects. One was

528
00:28:59,280 --> 00:29:02,240
Speaker 2: a play and one was House of Wax. He ended

529
00:29:02,320 --> 00:29:05,200
Speaker 2: up going with House of Wax, and it just revitalized

530
00:29:05,200 --> 00:29:08,880
Speaker 2: his career and began his emergence as a new horror icon.

531
00:29:09,240 --> 00:29:12,600
Speaker 2: Without House of Wax, who's to say we'd be talking

532
00:29:12,640 --> 00:29:14,200
Speaker 2: about Vincent Price today.

533
00:29:14,640 --> 00:29:17,120
Speaker 3: Well, I'm certainly glad we got all of these wonderful

534
00:29:17,200 --> 00:29:19,880
Speaker 3: Vincent Price films because he hit it big with this one.

535
00:29:20,440 --> 00:29:24,720
Speaker 2: Yeah, all right, Our leading lady here is Sue Allan

536
00:29:24,800 --> 00:29:27,520
Speaker 2: or Sue Allen's, the character played by Phyllis Kirk, who

537
00:29:27,520 --> 00:29:30,520
Speaker 2: lived nineteen twenty seven three two thousand and six. Her

538
00:29:30,560 --> 00:29:34,320
Speaker 2: other big film from the same year is nineteen fifty

539
00:29:34,320 --> 00:29:37,440
Speaker 2: three's Crime Wave, also directed by detaf She did a

540
00:29:37,480 --> 00:29:39,920
Speaker 2: lot of TV, including an episode of the classic Twilight

541
00:29:40,040 --> 00:29:43,320
Speaker 2: Zone series, and she starred along Peter Lawford on TV's

542
00:29:43,320 --> 00:29:47,920
Speaker 2: The Thin Man. They played Nick and Nora Charles, respectively, investigators.

543
00:29:48,160 --> 00:29:50,640
Speaker 2: This show was based, like the nineteen thirty four film

544
00:29:50,920 --> 00:29:53,520
Speaker 2: on the work of Dashal Hammett, and the Nick and

545
00:29:53,560 --> 00:29:55,720
Speaker 2: Nora glasses that some of you may have in your

546
00:29:55,760 --> 00:29:59,840
Speaker 2: cupboard are named for these characters. I use my Nick

547
00:29:59,880 --> 00:30:01,240
Speaker 2: and Ora glass just the other night.

548
00:30:01,400 --> 00:30:02,640
Speaker 3: I have no idea what that is.

549
00:30:02,880 --> 00:30:04,680
Speaker 2: Okay, you're familiar with the coop glass.

550
00:30:04,440 --> 00:30:06,920
Speaker 3: Right, Oh, yes, like for cocktails or champagne.

551
00:30:06,960 --> 00:30:10,000
Speaker 2: Yeah, So imagine a coop glass that's a little more

552
00:30:10,120 --> 00:30:12,720
Speaker 2: narrow and a little less spillable, a little more petite,

553
00:30:13,480 --> 00:30:15,400
Speaker 2: and that's a Nick and Nora glass. I'm a big

554
00:30:15,440 --> 00:30:16,960
Speaker 2: fan of them because I found that. Yeah, I find

555
00:30:17,000 --> 00:30:20,120
Speaker 2: they're less spillable than a coop glass, but they have

556
00:30:20,160 --> 00:30:23,240
Speaker 2: the same feel, and they're great for a like a

557
00:30:23,320 --> 00:30:27,240
Speaker 2: non iced cocktail, Like it's great for something like a Manhattan.

558
00:30:27,720 --> 00:30:30,560
Speaker 3: Okay, I had no idea what that was called, but

559
00:30:30,680 --> 00:30:32,480
Speaker 3: I've had drinks and restaurants in.

560
00:30:32,440 --> 00:30:35,720
Speaker 2: These Yeah, yeah, nice little glass. I like it all right.

561
00:30:35,760 --> 00:30:39,280
Speaker 2: So that's Sue. Sue is our main female character, but

562
00:30:39,320 --> 00:30:43,200
Speaker 2: then she has a friend in the movie named Kathy

563
00:30:43,320 --> 00:30:46,520
Speaker 2: Kathy Gray. Kathy Gray is played by Carolyn Jones, who

564
00:30:46,560 --> 00:30:50,280
Speaker 2: lived nineteen thirty through nineteen eighty three. Her character doesn't

565
00:30:50,280 --> 00:30:53,920
Speaker 2: stick around long, but she gives us the real bubbly, fun,

566
00:30:53,960 --> 00:30:58,200
Speaker 2: loving blonde performance as the doomed Kathy, and she would

567
00:30:58,240 --> 00:31:01,320
Speaker 2: go on to play boarding role in nineteen fifty six

568
00:31:01,400 --> 00:31:04,160
Speaker 2: is Invasion of the Body Snatchers, but he's best well

569
00:31:04,200 --> 00:31:08,000
Speaker 2: known for playing more Titia Adams on TVs. The Adams

570
00:31:08,040 --> 00:31:10,080
Speaker 2: Family in the mid nineteen sixties.

571
00:31:10,360 --> 00:31:13,080
Speaker 3: You know, I almost wish they had swapped the roles here,

572
00:31:13,520 --> 00:31:15,479
Speaker 3: not that it really would have worked, because I can

573
00:31:15,520 --> 00:31:17,760
Speaker 3: tell what they were going for with the character of Sue,

574
00:31:17,800 --> 00:31:21,320
Speaker 3: and Phyllis Kirk fits that. But Carolyn Jones is so

575
00:31:21,480 --> 00:31:25,000
Speaker 3: much fun, and it's it's sad that her character gets

576
00:31:25,040 --> 00:31:28,920
Speaker 3: waxed too early in this film, because she's got great

577
00:31:28,920 --> 00:31:32,120
Speaker 3: screen presence and does a very funny combination of kind

578
00:31:32,120 --> 00:31:35,320
Speaker 3: of yeah, like you said, on one hand, this bubbly

579
00:31:35,400 --> 00:31:38,800
Speaker 3: party girl mentality, but she also has a very cynical

580
00:31:39,080 --> 00:31:40,520
Speaker 3: edge that I liked.

581
00:31:41,200 --> 00:31:44,160
Speaker 2: Yeah, and this movie, at least for the most part,

582
00:31:44,200 --> 00:31:48,000
Speaker 2: I don't know to what extent they You know, certainly

583
00:31:48,040 --> 00:31:49,760
Speaker 2: in the Night By the nineteen eighties we've talked about

584
00:31:49,760 --> 00:31:52,240
Speaker 2: how like the good girl becomes our hero and the

585
00:31:52,280 --> 00:31:54,480
Speaker 2: bad girl is punished. I didn't get that as much

586
00:31:54,480 --> 00:31:58,440
Speaker 2: from this film that Sue I did. You did. Well,

587
00:31:59,000 --> 00:32:02,200
Speaker 2: let's say it wasn't as announced, you know, like she will.

588
00:32:02,000 --> 00:32:04,760
Speaker 3: Wait a minute, I'm sorry, maybe I misunderstand you. You

589
00:32:04,800 --> 00:32:07,959
Speaker 3: mean like you don't get the sense that the ethic

590
00:32:08,040 --> 00:32:11,280
Speaker 3: of the movie is that, wow, Kathy really got what

591
00:32:11,440 --> 00:32:13,680
Speaker 3: was coming to her. It's just like it is tragic

592
00:32:13,720 --> 00:32:17,640
Speaker 3: that she was killed, right like, oh, yeah, yeah, totally, okay.

593
00:32:17,680 --> 00:32:22,080
Speaker 3: It's not that it's like a film of vengeful conservative

594
00:32:22,120 --> 00:32:25,040
Speaker 3: morality like you might perceive in some slasher movies.

595
00:32:25,240 --> 00:32:27,120
Speaker 2: Right there may be, I think there's probably some of

596
00:32:27,160 --> 00:32:30,600
Speaker 2: that leeching in sort of indirectly from the general culture,

597
00:32:31,000 --> 00:32:34,240
Speaker 2: but it's not it's not sharpened in the script to

598
00:32:34,360 --> 00:32:36,520
Speaker 2: the degree that it is in later films.

599
00:32:36,640 --> 00:32:40,080
Speaker 3: So and I appreciated that, Yeah, agreed.

600
00:32:40,840 --> 00:32:42,560
Speaker 2: So Jones also had a small part in the Man

601
00:32:42,560 --> 00:32:44,600
Speaker 2: who Knew Too Much from fifty six. She had a

602
00:32:44,600 --> 00:32:47,280
Speaker 2: small part in Fritz Lang's The Big Heat from fifty three,

603
00:32:47,600 --> 00:32:50,120
Speaker 2: and she played Marcia, Queen of Diamonds on the nineteen

604
00:32:50,120 --> 00:32:51,440
Speaker 2: sixties Batman series.

605
00:32:51,960 --> 00:32:54,120
Speaker 3: Yeah, like I said, Carolyn Jones is great in this.

606
00:32:54,200 --> 00:32:57,640
Speaker 3: I wish her character had been alive longer, and I

607
00:32:58,640 --> 00:33:01,400
Speaker 3: you know, she's almost still kind of funny as a

608
00:33:01,440 --> 00:33:03,000
Speaker 3: wax figure later in the movie.

609
00:33:03,440 --> 00:33:06,840
Speaker 2: Yeah, all right, I'm gonna skip most of the male

610
00:33:06,840 --> 00:33:09,240
Speaker 2: good guys here because again, they're not that interesting. Maybe

611
00:33:09,240 --> 00:33:12,240
Speaker 2: we'll come back to Frank Lovejoy and Paul Piccorini in

612
00:33:12,320 --> 00:33:16,040
Speaker 2: later films, but we'll refer to their characters. But I

613
00:33:16,160 --> 00:33:19,240
Speaker 2: just wasn't that interested, especially when we've got Igor to

614
00:33:19,240 --> 00:33:24,080
Speaker 2: talk about. Igor was played by Charles Bucchinski, who would

615
00:33:24,120 --> 00:33:27,560
Speaker 2: later on be known as Charles Bronson, who lived nineteen

616
00:33:27,600 --> 00:33:29,360
Speaker 2: twenty one through two thousand and three.

617
00:33:29,760 --> 00:33:33,000
Speaker 3: He made a death wish to be in this horror

618
00:33:33,000 --> 00:33:39,440
Speaker 3: film and it was granted. And wow, his muscles, Okay, Yeah,

619
00:33:38,680 --> 00:33:42,920
Speaker 3: he has a strapping dude in this. This is Bronson

620
00:33:43,040 --> 00:33:46,280
Speaker 3: pre mustache and also pre Bronson because he didn't start

621
00:33:46,360 --> 00:33:49,880
Speaker 3: using that name until nineteen fifty four. And yeah, he's

622
00:33:50,120 --> 00:33:52,960
Speaker 3: he's very muscular, he doesn't talk, he's plays his character

623
00:33:53,040 --> 00:33:54,200
Speaker 3: is supposed to be a deaf mute.

624
00:33:54,320 --> 00:33:58,120
Speaker 2: He's also extremely grappily. He keeps getting into scrapes with people,

625
00:33:58,320 --> 00:34:01,120
Speaker 2: with the cops, with our heroes, and he goes right

626
00:34:01,160 --> 00:34:01,719
Speaker 2: for the gravel.

627
00:34:02,200 --> 00:34:05,320
Speaker 3: Even in his non threatening scenes in this movie, he's

628
00:34:05,320 --> 00:34:07,040
Speaker 3: one of those people who just has kind of a

629
00:34:07,080 --> 00:34:11,239
Speaker 3: threatening posture like his his arms are always kind of

630
00:34:11,400 --> 00:34:14,480
Speaker 3: bent in such a way, kind of like a wrestler's stance,

631
00:34:14,680 --> 00:34:17,480
Speaker 3: like he might spring out to grab you at any moment.

632
00:34:18,360 --> 00:34:20,640
Speaker 2: Yeah, which is it's It's interesting because it's a total

633
00:34:20,680 --> 00:34:24,040
Speaker 2: different physical energy compared to what we I think most

634
00:34:24,040 --> 00:34:27,520
Speaker 2: people identify with Charles Bronson from his later career, where

635
00:34:27,560 --> 00:34:29,960
Speaker 2: he's kind of a you know, kind of a cool,

636
00:34:30,000 --> 00:34:30,960
Speaker 2: tough guy, a.

637
00:34:30,960 --> 00:34:33,520
Speaker 3: Guy who will sit there with an expressionless face until

638
00:34:33,520 --> 00:34:35,640
Speaker 3: he suddenly shoots you exactly.

639
00:34:35,800 --> 00:34:37,680
Speaker 2: Yeah. So he went on to be a big action

640
00:34:37,800 --> 00:34:40,400
Speaker 2: star in the sixties and seventies, especially thanks to films

641
00:34:40,440 --> 00:34:42,440
Speaker 2: like Once Upon a Time in the West, The Great Escape,

642
00:34:42,480 --> 00:34:45,840
Speaker 2: The Magnificent Seven, The Dirty Dozen, The Mechanic, and of

643
00:34:45,880 --> 00:34:50,080
Speaker 2: course the Death Wish franchise. All Right, we talked about

644
00:34:50,400 --> 00:34:55,240
Speaker 2: the Ping pong guy earlier the Paddles, Yeah, pattleball Man.

645
00:34:55,320 --> 00:34:58,040
Speaker 2: In the credits, he's referred to as the Barker because

646
00:34:58,080 --> 00:35:00,480
Speaker 2: his job is to be outside of the Wax Museum

647
00:35:00,600 --> 00:35:03,560
Speaker 2: getting people excited bringing him in. He's a carnival barker

648
00:35:03,800 --> 00:35:07,440
Speaker 2: played by Reggie Rymahl who lived nineteen twenty one through

649
00:35:07,480 --> 00:35:10,360
Speaker 2: two thousand and two. He was a stand up comedian

650
00:35:10,520 --> 00:35:13,719
Speaker 2: of the day who specialized in ping pong gags with

651
00:35:13,800 --> 00:35:17,000
Speaker 2: little paddle balls, you know, on the elastic string. He

652
00:35:17,080 --> 00:35:20,320
Speaker 2: performed on the Steve Allen Show, the Eddie Cantor Show,

653
00:35:20,480 --> 00:35:23,279
Speaker 2: and you asked for it. But this is what he's

654
00:35:23,360 --> 00:35:26,880
Speaker 2: best remembered for, and he gets a lot of screen time.

655
00:35:27,160 --> 00:35:33,040
Speaker 3: Yeah. I would say Reggie rymol probably has more words

656
00:35:33,280 --> 00:35:37,960
Speaker 3: of dialogue in this movie than like Scott the Sculptor,

657
00:35:38,000 --> 00:35:40,839
Speaker 3: who is ostensibly like the male hero.

658
00:35:41,600 --> 00:35:45,520
Speaker 2: Yeah. So yeah, we'll come back to him in a bit,

659
00:35:45,719 --> 00:35:48,600
Speaker 2: all right. The music on this one is from David Buttoff,

660
00:35:48,680 --> 00:35:51,440
Speaker 2: who lived nineteen oh two through nineteen eighty three. Prolific

661
00:35:51,440 --> 00:35:54,759
Speaker 2: composer who also did Hitchcock's Rope in forty eight, The

662
00:35:54,800 --> 00:35:58,040
Speaker 2: Beast from twenty Thousand Fathoms and fifty three and nineteen

663
00:35:58,040 --> 00:36:01,120
Speaker 2: thirty nine's The Gorilla All Right Now. Gordon Bow, who

664
00:36:01,200 --> 00:36:03,920
Speaker 2: lived nineteen oh seven through nineteen seventy five, has makeup

665
00:36:03,960 --> 00:36:08,320
Speaker 2: credit on this, but the fantastic makeup, the monster makeup

666
00:36:08,400 --> 00:36:12,319
Speaker 2: that Price is actually wearing is apparently the work uncredited

667
00:36:12,360 --> 00:36:15,160
Speaker 2: of his brother George Bow, who lived nineteen oh five

668
00:36:15,239 --> 00:36:19,000
Speaker 2: through nineteen seventy four. George Bow was a materials innovator

669
00:36:19,040 --> 00:36:22,239
Speaker 2: who developed a bow foam, which was first used in

670
00:36:22,320 --> 00:36:26,080
Speaker 2: nineteen thirty nine. Is the Hunchback of Notre Dame. Gordon Bow,

671
00:36:26,200 --> 00:36:29,240
Speaker 2: his brother worked on a ton of films in doing makeup,

672
00:36:29,239 --> 00:36:32,360
Speaker 2: including It's a Wonderful Life, Revel Without a Cause, The

673
00:36:32,840 --> 00:36:36,240
Speaker 2: Three D Picture, dial M for Murder, Dirty Harry Them,

674
00:36:36,360 --> 00:36:38,200
Speaker 2: and The Omega Man, just to name a few.

675
00:36:38,719 --> 00:36:40,920
Speaker 3: Very solid makeup in this movie.

676
00:36:40,719 --> 00:36:44,120
Speaker 2: Absolutely and I love the yeah, the coloration. It has

677
00:36:44,160 --> 00:36:48,160
Speaker 2: this kind of a purplish effect, so the purples and

678
00:36:48,200 --> 00:36:50,320
Speaker 2: pinks that kind of match up with the pink wax

679
00:36:50,400 --> 00:36:55,120
Speaker 2: we see later. So it's grotesque but also grotesque in

680
00:36:55,120 --> 00:36:56,759
Speaker 2: a way. And I don't know how much of this

681
00:36:56,880 --> 00:36:59,800
Speaker 2: was intended, but it like, it doesn't feel completely realistic.

682
00:37:00,000 --> 00:37:04,000
Speaker 2: I think they were maybe going for realism, but like

683
00:37:04,080 --> 00:37:07,239
Speaker 2: it doesn't feel I don't know, somehow it doesn't feel

684
00:37:07,239 --> 00:37:09,520
Speaker 2: as exploitive. I don't know if that makes sense. Like

685
00:37:09,560 --> 00:37:14,280
Speaker 2: it's a different energy than say a Freddy Krueger makeup. Yeah, anyway.

686
00:37:14,320 --> 00:37:18,279
Speaker 2: Final note. Robert Burkes, who lived nineteen oh nine through

687
00:37:18,360 --> 00:37:22,759
Speaker 2: nineteen sixty eight, Hitchcock's favorite cinematographer, worked on this picture uncredited,

688
00:37:23,040 --> 00:37:26,320
Speaker 2: along with the credited cinematographers Burke Glennon who lived eighteen

689
00:37:26,400 --> 00:37:30,920
Speaker 2: ninety three through nineteen sixty seven, and Jay Peverell Marley,

690
00:37:30,960 --> 00:37:33,040
Speaker 2: who lived nineteen oh one through nineteen sixty four.

691
00:37:41,800 --> 00:37:44,120
Speaker 3: All Right, are we ready to talk about the plot?

692
00:37:44,520 --> 00:37:45,600
Speaker 2: Yeah, let's get into it.

693
00:37:45,920 --> 00:37:47,879
Speaker 3: So I really love the title shot. It really lets

694
00:37:47,920 --> 00:37:49,799
Speaker 3: you know what kind of movie it's going to be.

695
00:37:49,920 --> 00:37:54,000
Speaker 3: So you have a background that's a damp, dismal street

696
00:37:54,040 --> 00:37:56,400
Speaker 3: corner in New York around the turn of the century.

697
00:37:56,520 --> 00:38:00,600
Speaker 3: There are rain soaked cobblestones and bricks that are reflecting

698
00:38:00,640 --> 00:38:03,280
Speaker 3: the kind of measly light from a pair of street lamps.

699
00:38:03,520 --> 00:38:06,879
Speaker 3: The scene is very dark, blue and gray. But then

700
00:38:06,920 --> 00:38:10,400
Speaker 3: in the foreground here comes the title House of Wax

701
00:38:10,520 --> 00:38:15,880
Speaker 3: in huge, shrieking orange block letters. Like, I don't know

702
00:38:15,880 --> 00:38:17,839
Speaker 3: how to describe this, Like the letters have the their

703
00:38:17,920 --> 00:38:20,640
Speaker 3: blocks that have these big amount of that have depth,

704
00:38:20,800 --> 00:38:23,759
Speaker 3: like their stamps jutting out of the screen, and the

705
00:38:23,800 --> 00:38:26,000
Speaker 3: texture on the front of the letters is that of

706
00:38:26,080 --> 00:38:28,600
Speaker 3: melting wax. So the title itself is dripping.

707
00:38:29,320 --> 00:38:32,200
Speaker 2: Yeah. Yeah, I love these. Even watching these in two

708
00:38:32,280 --> 00:38:33,480
Speaker 2: D they jump out.

709
00:38:33,040 --> 00:38:36,920
Speaker 3: Also, they put the title in quotation marks, which I

710
00:38:36,960 --> 00:38:39,879
Speaker 3: found funny. I'm not sure why, but it's the so

711
00:38:39,960 --> 00:38:41,600
Speaker 3: called house of wax.

712
00:38:42,320 --> 00:38:44,200
Speaker 2: Yeah, I mean, when you're using House of Wax fawn,

713
00:38:44,440 --> 00:38:50,120
Speaker 2: you can disregard some of the other rules regarding punctuation, but.

714
00:38:50,040 --> 00:38:53,280
Speaker 3: The title of a movie is usually underlined or italicized anyway,

715
00:38:53,400 --> 00:38:56,879
Speaker 3: rather than putting quotation marks. This isn't a poem, yeah,

716
00:38:57,000 --> 00:38:59,120
Speaker 3: I mean, generally you can just throw the words up there.

717
00:38:59,200 --> 00:39:02,279
Speaker 3: You don't need to worry about anything else, especially if

718
00:39:02,320 --> 00:39:06,000
Speaker 3: you're using gimmicky letters like this. I mean, come on, anyway,

719
00:39:06,200 --> 00:39:09,040
Speaker 3: as the credits fade in and out, we watch the

720
00:39:09,040 --> 00:39:12,080
Speaker 3: silhouette of a lonely man tramping up the sidewalk in

721
00:39:12,120 --> 00:39:14,960
Speaker 3: the rain. And by the way, just throughout the movie,

722
00:39:15,040 --> 00:39:18,720
Speaker 3: I do love the nighttime shots of the streets here

723
00:39:19,440 --> 00:39:25,399
Speaker 3: the lonely, dark, often foggy, often wet with rain, New

724
00:39:25,480 --> 00:39:27,880
Speaker 3: York streets around the turn of the century. It's I

725
00:39:27,920 --> 00:39:31,680
Speaker 3: guess these were probably all indoor shots inside a studio,

726
00:39:32,160 --> 00:39:33,480
Speaker 3: but they're fantastic.

727
00:39:33,680 --> 00:39:36,080
Speaker 2: Yeah, and a lot of these shots apparently you really

728
00:39:36,080 --> 00:39:37,760
Speaker 2: got a sense of that depth when you were watching

729
00:39:37,800 --> 00:39:38,320
Speaker 2: it in three D.

730
00:39:39,400 --> 00:39:42,279
Speaker 3: Anyway, we move inside one of the windows into a

731
00:39:42,640 --> 00:39:46,160
Speaker 3: brightly lit interior to immediately see a shadow cast upon

732
00:39:46,160 --> 00:39:48,320
Speaker 3: a wall, and it is the shadow of a woman

733
00:39:48,360 --> 00:39:51,200
Speaker 3: wearing a bonnet with a knife raised in her hand,

734
00:39:51,280 --> 00:39:54,520
Speaker 3: ready to strike. So who's she about to stab? Nobody

735
00:39:54,680 --> 00:39:56,920
Speaker 3: turns out. We pan over to discover this is not

736
00:39:57,000 --> 00:39:59,640
Speaker 3: a living woman about to commit a murder, but a

737
00:39:59,680 --> 00:40:03,440
Speaker 3: whack sculpture of a woman wearing the bonnet again and

738
00:40:03,480 --> 00:40:08,280
Speaker 3: doing the knife delivery pose. The camera reveals the rest

739
00:40:08,320 --> 00:40:11,440
Speaker 3: of the room slowly, and it is full of humanoid

740
00:40:11,560 --> 00:40:15,399
Speaker 3: wax sculptures. We see a kind of master of ceremonies

741
00:40:15,480 --> 00:40:18,400
Speaker 3: dude wearing a top hat in tails. There's a choir

742
00:40:18,560 --> 00:40:22,320
Speaker 3: mistress in red and black tartan. There is a policeman

743
00:40:22,400 --> 00:40:25,840
Speaker 3: in a bobby helmet. We see Cleopatra and Mark Antony,

744
00:40:26,120 --> 00:40:28,520
Speaker 3: a fancy lady that I think is supposed to be

745
00:40:28,600 --> 00:40:32,839
Speaker 3: Marie Antoinette. Oh yeah, this is Marie Antoinette. A scene

746
00:40:32,880 --> 00:40:36,640
Speaker 3: of the assassination of Abraham Lincoln and then Joan of

747
00:40:36,760 --> 00:40:41,120
Speaker 3: Arc at the stake, and of the historical figures depicted,

748
00:40:41,880 --> 00:40:44,520
Speaker 3: I was noticing immediately that it seems like they're all

749
00:40:44,680 --> 00:40:49,799
Speaker 3: people associated with tragic and untimely deaths. And I think

750
00:40:49,800 --> 00:40:53,960
Speaker 3: this says something about the cultural understanding of the purpose

751
00:40:54,120 --> 00:40:57,520
Speaker 3: of a wax museum, that it is not for effigies

752
00:40:57,560 --> 00:41:02,279
Speaker 3: of just any famous person. There's a particular spirit of

753
00:41:02,480 --> 00:41:07,440
Speaker 3: morbid curiosity that we associate with wax. There's kind of

754
00:41:07,600 --> 00:41:10,920
Speaker 3: a focus on not just in the chamber of horror,

755
00:41:11,040 --> 00:41:14,120
Speaker 3: since though that will become a theme in the movie itself,

756
00:41:14,160 --> 00:41:16,840
Speaker 3: where you know, you have wax figures for scenes of

757
00:41:16,880 --> 00:41:20,759
Speaker 3: torture and execution and all that, but even when you're

758
00:41:20,800 --> 00:41:24,319
Speaker 3: not showing torture and execution, you're showing figures that we

759
00:41:24,480 --> 00:41:28,480
Speaker 3: remember for the fact that they died young and tragically.

760
00:41:28,640 --> 00:41:32,040
Speaker 2: Yeah, with their flesh made whole again and lifelike.

761
00:41:32,360 --> 00:41:34,640
Speaker 3: So finally we arrive at the end of the Great Hall,

762
00:41:34,880 --> 00:41:37,600
Speaker 3: and we come to a place that functions as a workshop,

763
00:41:37,640 --> 00:41:41,840
Speaker 3: and here is Vincent Price as the character Professor Henry Jared.

764
00:41:41,880 --> 00:41:45,400
Speaker 3: He's dressed in a long smock, surrounded by half finished

765
00:41:45,440 --> 00:41:49,359
Speaker 3: wax bodies, arms and heads, and he's deep in his work.

766
00:41:49,400 --> 00:41:52,480
Speaker 3: He's using his fingers to shape the contours of a

767
00:41:52,480 --> 00:41:55,800
Speaker 3: sort of wax of venus on a stand before him.

768
00:41:55,920 --> 00:41:58,520
Speaker 2: Yeah. This is essentially the same character played by Atwell

769
00:41:58,520 --> 00:42:02,000
Speaker 2: in the original though, so that character and the original

770
00:42:02,120 --> 00:42:05,759
Speaker 2: was named Ivan Igor And there was also just again

771
00:42:05,920 --> 00:42:08,640
Speaker 2: a lot more of a necrophilia vibe to his obsession

772
00:42:08,719 --> 00:42:13,560
Speaker 2: with wax bodies and Vincent prizes. Henry Jared comes off

773
00:42:13,640 --> 00:42:18,280
Speaker 2: more innocent, eccentric, certainly, but more innocent in his connection

774
00:42:18,400 --> 00:42:19,160
Speaker 2: to his work.

775
00:42:19,560 --> 00:42:24,840
Speaker 3: Initially, Yes, yeah, I mean it becomes perverse, yeah, obviously

776
00:42:25,640 --> 00:42:26,600
Speaker 3: in Murder beginning.

777
00:42:26,680 --> 00:42:29,560
Speaker 2: Yeah yeah, But in the beginning, it's just about a

778
00:42:29,640 --> 00:42:33,160
Speaker 2: man who is pouring all of his being into these

779
00:42:33,200 --> 00:42:37,279
Speaker 2: creations and loves them and has this kind of eccentric

780
00:42:37,440 --> 00:42:40,319
Speaker 2: relationship with them. He sees them as his friends, he

781
00:42:40,400 --> 00:42:42,320
Speaker 2: sees them as his family.

782
00:42:42,880 --> 00:42:46,520
Speaker 3: So somebody comes in from the rain. It is Matthew Burke,

783
00:42:46,680 --> 00:42:49,439
Speaker 3: Jared's business partner, and as soon as he's in the door,

784
00:42:49,680 --> 00:42:53,920
Speaker 3: they're at odds about their business situation, so they run

785
00:42:54,080 --> 00:42:58,560
Speaker 3: a wax museum together, and Matthew Burke is not happy

786
00:42:58,640 --> 00:43:01,560
Speaker 3: with recent ticket return. He says that, hey, you know

787
00:43:01,640 --> 00:43:04,759
Speaker 3: the other wax museums in town. They've got lines around

788
00:43:04,800 --> 00:43:08,200
Speaker 3: the block. What's the difference. They've got a chamber of horrors,

789
00:43:08,280 --> 00:43:12,319
Speaker 3: so all of their sculptures are about murder, torture, and execution,

790
00:43:13,239 --> 00:43:15,960
Speaker 3: and Jared is not interested in that. He says he'd

791
00:43:16,080 --> 00:43:20,200
Speaker 3: rather spend his time depicting beauty and figures of historical significance.

792
00:43:20,239 --> 00:43:25,440
Speaker 3: He's not going to stoop to slopping out wax gore, which, again,

793
00:43:25,719 --> 00:43:27,920
Speaker 3: remembering what we just said, is kind of funny because

794
00:43:27,960 --> 00:43:30,480
Speaker 3: while this the stuff in his museum is not gory,

795
00:43:30,560 --> 00:43:34,640
Speaker 3: it is very focused on people with tragic deaths.

796
00:43:35,360 --> 00:43:38,840
Speaker 2: Yeah, but he's not pushing it the way his business

797
00:43:38,920 --> 00:43:41,200
Speaker 2: partner thinks he should be pushing it, like the gore

798
00:43:41,239 --> 00:43:43,480
Speaker 2: should be front and center, and he's like, no, no, no,

799
00:43:43,520 --> 00:43:45,480
Speaker 2: the beauty should be front and center, even if I'm

800
00:43:45,520 --> 00:43:50,560
Speaker 2: focusing on martyred individuals and tragic figures. Yeah.

801
00:43:50,600 --> 00:43:52,600
Speaker 3: So I guess Matthew here would say, like, look, I

802
00:43:52,640 --> 00:43:54,800
Speaker 3: want that Joan of arc to be half burned alive.

803
00:43:54,960 --> 00:43:56,960
Speaker 3: You know, I want to see her muscle. I want

804
00:43:56,960 --> 00:43:59,959
Speaker 3: to see the blood. So Matthew is not happy. He says,

805
00:44:00,080 --> 00:44:02,799
Speaker 3: I've got twenty thousand dollars sunk in this historic peep

806
00:44:02,840 --> 00:44:04,600
Speaker 3: show of yours, and I could use that money to

807
00:44:04,680 --> 00:44:07,880
Speaker 3: better advantage. But Vincent Price has an ace up his

808
00:44:07,960 --> 00:44:11,000
Speaker 3: sleeve here. He says, well, there's a wealthy investor named

809
00:44:11,040 --> 00:44:14,719
Speaker 3: Sidney Wallace. He's about to come by, and Jared is

810
00:44:14,760 --> 00:44:17,320
Speaker 3: hoping that mister moneybags here might be willing to buy

811
00:44:17,440 --> 00:44:20,120
Speaker 3: out Matthew's share of the museum, and this would free

812
00:44:20,200 --> 00:44:23,880
Speaker 3: Jared from having to turn the place into hell Raiser

813
00:44:23,920 --> 00:44:27,480
Speaker 3: two to keep Matthew happy. So Wallace and this other

814
00:44:27,520 --> 00:44:30,560
Speaker 3: guy named Bruce show up, and Jared starts giving them

815
00:44:30,600 --> 00:44:33,239
Speaker 3: a tour of his artworks. But in doing so, he

816
00:44:33,280 --> 00:44:36,279
Speaker 3: does start making these eccentric comments, like he calls his

817
00:44:36,360 --> 00:44:40,360
Speaker 3: sculptures his children, and he says, to you they are wax,

818
00:44:40,520 --> 00:44:43,920
Speaker 3: but to me their creator, they live and breathe. He

819
00:44:43,960 --> 00:44:46,440
Speaker 3: explains a bit about how he makes them. He presses

820
00:44:46,480 --> 00:44:48,839
Speaker 3: the hair into the wax heads with a scalpel, one

821
00:44:49,040 --> 00:44:52,719
Speaker 3: hair at a time, he says, and they're like looking

822
00:44:52,760 --> 00:44:55,839
Speaker 3: at the Cleopatra scene, and I think it's Bruce who's

823
00:44:55,840 --> 00:45:00,120
Speaker 3: getting a little too excited about the Cleopatra sculpture. And

824
00:45:00,160 --> 00:45:03,040
Speaker 3: then Jared shows off the Lincoln assassination scene. He says,

825
00:45:03,280 --> 00:45:06,279
Speaker 3: he calls it quote one of my few concessions to

826
00:45:06,360 --> 00:45:09,680
Speaker 3: the macabre. And then Wallace looks at it. He says,

827
00:45:09,680 --> 00:45:12,160
Speaker 3: why is the best John Wilkes booth I've ever seen?

828
00:45:12,320 --> 00:45:15,719
Speaker 3: And it's like, how many is he seen? Are there

829
00:45:15,800 --> 00:45:19,760
Speaker 3: like assassin waxes all over the town? I guess maybe

830
00:45:20,040 --> 00:45:21,440
Speaker 3: all the museums have a booth?

831
00:45:22,120 --> 00:45:24,920
Speaker 2: Yeah, he travel around. You go to a new city,

832
00:45:24,960 --> 00:45:26,719
Speaker 2: you want to see whether John Wilkes booth looks like

833
00:45:26,760 --> 00:45:27,960
Speaker 2: at their local wax museum.

834
00:45:28,320 --> 00:45:30,840
Speaker 3: Oh, but any But then in explaining the scene, Jared

835
00:45:31,280 --> 00:45:34,120
Speaker 3: gets into, oh, the booth sculpture was very stubborn. I

836
00:45:34,239 --> 00:45:36,880
Speaker 3: kept arguing with him while he was being crafted, and

837
00:45:37,920 --> 00:45:39,960
Speaker 3: he didn't want to do what I wanted him to do.

838
00:45:40,040 --> 00:45:42,359
Speaker 3: And they're like, do you mean he talked back to you?

839
00:45:42,440 --> 00:45:44,319
Speaker 3: And he says, of course, what do you expect from

840
00:45:44,360 --> 00:45:50,480
Speaker 3: an actor? And then finally onto Joan of Arc, Jared's well,

841
00:45:50,520 --> 00:45:52,920
Speaker 3: I'd say one of his main one of his two

842
00:45:53,040 --> 00:45:56,160
Speaker 3: favorite subjects, Marie Antoinette and Joan of Arc are his favorites.

843
00:45:56,200 --> 00:45:56,520
Speaker 2: I think.

844
00:45:56,960 --> 00:45:59,759
Speaker 3: He says that he has remade this scene many times now.

845
00:46:00,000 --> 00:46:03,320
Speaker 3: He explains the reason there is no authentic portrait of Joan,

846
00:46:03,640 --> 00:46:05,919
Speaker 3: so he has to work from living models, and he's

847
00:46:05,960 --> 00:46:08,880
Speaker 3: never found the model to give him the perfect face

848
00:46:08,920 --> 00:46:11,279
Speaker 3: of the saint, but he's sure he will one day.

849
00:46:12,040 --> 00:46:15,319
Speaker 3: Oh and also just they also have a conversation about

850
00:46:15,360 --> 00:46:19,040
Speaker 3: the Marie Antoinette figure, and at one point he's saying

851
00:46:19,040 --> 00:46:21,600
Speaker 3: that her eyes are made of glass, and he says

852
00:46:21,719 --> 00:46:25,120
Speaker 3: the exact size and color of the original.

853
00:46:26,840 --> 00:46:29,120
Speaker 2: I guess the same size as the original eyes or

854
00:46:29,120 --> 00:46:31,319
Speaker 2: just sort of human eyes. I don't know, I don't

855
00:46:31,400 --> 00:46:33,080
Speaker 2: strangely comment that was.

856
00:46:33,040 --> 00:46:37,160
Speaker 3: Odd, but anyway, after the tour Wallace Wallace is interested

857
00:46:37,200 --> 00:46:39,640
Speaker 3: in buying out Matthew's stake in the museum, but first

858
00:46:39,680 --> 00:46:42,880
Speaker 3: he has to go do excavations in Egypt for three months,

859
00:46:43,560 --> 00:46:45,600
Speaker 3: so he's going to be off grave robbing, but when

860
00:46:45,680 --> 00:46:49,799
Speaker 3: he returns he will be perhaps willing to invest in

861
00:46:49,840 --> 00:46:53,399
Speaker 3: the museum. So Wallace and Bruce leave and Jared gets

862
00:46:53,440 --> 00:46:56,200
Speaker 3: back to talking to the wax babies. He's you know, oh,

863
00:46:56,280 --> 00:46:59,640
Speaker 3: Marie Antoinette, my beloved. Did you hear them acknowledge your beauty?

864
00:47:00,520 --> 00:47:03,920
Speaker 3: And meanwhile, Matthew, the business partner, has been lurking around

865
00:47:03,920 --> 00:47:06,880
Speaker 3: this whole time, and he comes out of an adjacent

866
00:47:06,960 --> 00:47:10,760
Speaker 3: room and Jared expects him to be happy, but he's like, sorry,

867
00:47:10,800 --> 00:47:14,480
Speaker 3: I can't wait three months. I need money now. So

868
00:47:14,680 --> 00:47:18,040
Speaker 3: his plan is that the wax Museum is insured for

869
00:47:18,120 --> 00:47:20,759
Speaker 3: twenty five thousand dollars. He says, let's burn it down

870
00:47:20,800 --> 00:47:24,320
Speaker 3: and claim the insurance check. Of course, Jared is scandalized.

871
00:47:24,400 --> 00:47:27,560
Speaker 3: He's like, burn my children alive. That's murder. I won't

872
00:47:27,560 --> 00:47:29,880
Speaker 3: do it, and I'll kill you if you try. But

873
00:47:30,120 --> 00:47:33,120
Speaker 3: Matthew does not stop to discuss. He just starts lighting

874
00:47:33,160 --> 00:47:35,080
Speaker 3: matches and setting wax people on fire.

875
00:47:35,600 --> 00:47:37,719
Speaker 2: This is pretty much exactly how it goes down in

876
00:47:37,719 --> 00:47:40,680
Speaker 2: the original film as well. It is not premeditated Arson.

877
00:47:40,760 --> 00:47:43,759
Speaker 2: It's just like, hey, let's do Arson. I think that's

878
00:47:43,760 --> 00:47:44,560
Speaker 2: the way to go. Let's do it.

879
00:47:44,600 --> 00:47:46,760
Speaker 3: I'm doing it now, no time to argue.

880
00:47:46,880 --> 00:47:47,160
Speaker 2: Yeah.

881
00:47:47,239 --> 00:47:50,040
Speaker 3: Yeah, So they get into a fistfight, but Vincent Price

882
00:47:50,120 --> 00:47:54,160
Speaker 3: is bested and he gets knocked out I think twice

883
00:47:54,360 --> 00:47:55,200
Speaker 3: in this sequence.

884
00:47:55,920 --> 00:47:59,279
Speaker 2: Yeah, there's a lot of punching going on, and I

885
00:47:59,320 --> 00:48:01,879
Speaker 2: believe it was West Craven in the documentary pointed out

886
00:48:01,880 --> 00:48:04,200
Speaker 2: that it looks like Vincent Price is doing a lot

887
00:48:04,200 --> 00:48:07,240
Speaker 2: of his own stunts and also doing them really close

888
00:48:07,280 --> 00:48:09,360
Speaker 2: to open flames. So Craven was kind of like he

889
00:48:09,440 --> 00:48:12,040
Speaker 2: was like flinching a little as like, oh, it's a director,

890
00:48:12,080 --> 00:48:14,239
Speaker 2: you know this is You're kind of like, wow, they

891
00:48:14,280 --> 00:48:16,040
Speaker 2: really they were really going for it here.

892
00:48:16,360 --> 00:48:19,839
Speaker 3: There is another scene later in the movie where where

893
00:48:19,880 --> 00:48:22,520
Speaker 3: the Vincent Price character does like a swing on a

894
00:48:22,640 --> 00:48:25,279
Speaker 3: rope across an alleyway top and it looks like it's

895
00:48:25,360 --> 00:48:25,839
Speaker 3: really him.

896
00:48:26,160 --> 00:48:28,000
Speaker 2: Yeah, I wonder how much of that is just sort

897
00:48:28,000 --> 00:48:30,080
Speaker 2: of this is just how you did it at the time,

898
00:48:30,120 --> 00:48:32,400
Speaker 2: and how much of it, too, is just like Price

899
00:48:32,800 --> 00:48:36,480
Speaker 2: coming out of this gray list scare, realizing that this

900
00:48:36,560 --> 00:48:39,279
Speaker 2: is perhaps his big chance to get back on top

901
00:48:39,360 --> 00:48:41,719
Speaker 2: of things and just going just all in on it,

902
00:48:41,880 --> 00:48:43,080
Speaker 2: just doing everything he can.

903
00:48:43,320 --> 00:48:45,319
Speaker 3: Well, he does really go for it. But so in

904
00:48:45,360 --> 00:48:48,399
Speaker 3: this scene, Matthew Knock's Jared unconscious leaves him for dead

905
00:48:48,440 --> 00:48:51,839
Speaker 3: as the Palace of Wax burns, and we here get

906
00:48:51,880 --> 00:48:54,120
Speaker 3: to see this is something that I think is common

907
00:48:54,160 --> 00:48:58,200
Speaker 3: to most Wax horror movies. There is the Palace of

908
00:48:58,280 --> 00:49:00,840
Speaker 3: Wax burns, and we watch all of the wax figures

909
00:49:00,840 --> 00:49:04,720
Speaker 3: burning and melting in a revolting manner, and it really

910
00:49:04,760 --> 00:49:08,279
Speaker 3: does look gross. Presumably. I was thinking about why this is,

911
00:49:08,320 --> 00:49:10,799
Speaker 3: and I think it's because the sort of fat like

912
00:49:10,960 --> 00:49:15,439
Speaker 3: composition of wax somewhat resembles what we imagine it would

913
00:49:15,440 --> 00:49:19,000
Speaker 3: look like for flesh and adipose tissue to burn. But

914
00:49:19,040 --> 00:49:22,480
Speaker 3: we get horrifying shots of wax faces kind of softening

915
00:49:22,520 --> 00:49:26,160
Speaker 3: and then scorching and trickling away down the chin of

916
00:49:26,200 --> 00:49:28,960
Speaker 3: the mold, and it just makes me think about how

917
00:49:29,120 --> 00:49:32,160
Speaker 3: there's a reason wax museums keep occurring as a setting

918
00:49:32,200 --> 00:49:35,320
Speaker 3: for horror movies, and those movies always involve a tragic

919
00:49:35,360 --> 00:49:39,080
Speaker 3: inferno where the wax faces melt. It's just an inherently

920
00:49:39,200 --> 00:49:41,560
Speaker 3: disgusting and disturbing visual texture.

921
00:49:42,080 --> 00:49:42,400
Speaker 2: Yeah.

922
00:49:42,440 --> 00:49:45,920
Speaker 3: Absolutely, So the museum burns, we see Price wake up

923
00:49:45,960 --> 00:49:48,759
Speaker 3: and run through an interior doorway, though it's not initially

924
00:49:48,800 --> 00:49:52,080
Speaker 3: clear whether he dies in the fire or escapes, and

925
00:49:52,120 --> 00:49:56,320
Speaker 3: then the fire department arrives, a horse drawn fire engine

926
00:49:56,360 --> 00:49:58,640
Speaker 3: comes clattering up the street to put out the blaze,

927
00:49:58,680 --> 00:50:01,040
Speaker 3: and I thought this was a very cool historical set piece.

928
00:50:01,560 --> 00:50:04,680
Speaker 2: Yeah, it really drives home the historic gothic feel of

929
00:50:04,719 --> 00:50:05,160
Speaker 2: the picture.

930
00:50:05,560 --> 00:50:09,200
Speaker 3: So later, I guess this has taken to be weeks later,

931
00:50:09,320 --> 00:50:12,640
Speaker 3: we are at some I don't know. The setting here

932
00:50:12,760 --> 00:50:17,120
Speaker 3: is horrible. It's like this insipid promenade where this repetitive

933
00:50:17,200 --> 00:50:19,920
Speaker 3: music is playing. We see a banner somewhere that says

934
00:50:20,840 --> 00:50:25,480
Speaker 3: Weber's Hoffbrow And Matthew Burke is there, the scheming business

935
00:50:25,520 --> 00:50:28,600
Speaker 3: partner who set fire to the Wax Museum. He is

936
00:50:28,640 --> 00:50:33,160
Speaker 3: there with his fiance talking about his dear departed friend,

937
00:50:33,239 --> 00:50:37,000
Speaker 3: Professor Jared and his fiance. Here is Carolyn Jones playing

938
00:50:37,080 --> 00:50:41,280
Speaker 3: Kathy Gray. Now Matthew is describing his dear departed friend,

939
00:50:41,400 --> 00:50:43,560
Speaker 3: Professor Jared. He says, you know, oh, he was a

940
00:50:43,560 --> 00:50:46,759
Speaker 3: great artist. Only I could understand him. We were like this,

941
00:50:47,680 --> 00:50:51,239
Speaker 3: And his fiance says, did they ever find him after

942
00:50:51,320 --> 00:50:55,000
Speaker 3: the fire? And she's doing I would call it a

943
00:50:55,000 --> 00:50:57,520
Speaker 3: Betty Boop voice, very much a baby voice.

944
00:50:57,960 --> 00:50:58,520
Speaker 2: I agree.

945
00:50:58,800 --> 00:51:01,120
Speaker 3: Matthew says, nope, no kind of him. Place went up

946
00:51:01,160 --> 00:51:05,120
Speaker 3: like a volcano. Maybe he was reduced to unrecognizable ash.

947
00:51:05,360 --> 00:51:07,400
Speaker 3: And he says, if only I had been there, I

948
00:51:07,480 --> 00:51:11,880
Speaker 3: might have saved him, and Carolyn Jones says, oh, but Maddie,

949
00:51:11,920 --> 00:51:15,279
Speaker 3: then you might have been burned up too. So at

950
00:51:15,440 --> 00:51:18,240
Speaker 3: very first it seems like this character played by Carolyn

951
00:51:18,280 --> 00:51:20,640
Speaker 3: Jones is supposed to be kind of naive and dumb.

952
00:51:20,840 --> 00:51:23,920
Speaker 3: But then she looks away from Maddie and she kind

953
00:51:23,920 --> 00:51:26,520
Speaker 3: of gets a twinkle in her eye and she says,

954
00:51:26,800 --> 00:51:30,200
Speaker 3: was there any insurance on the place? So I think

955
00:51:30,239 --> 00:51:33,520
Speaker 3: she's actually angling for that sweet cash.

956
00:51:33,200 --> 00:51:37,880
Speaker 2: Just as much as Matthew is, of course worth being.

957
00:51:37,920 --> 00:51:40,279
Speaker 2: She does not know the true horror of what happened there.

958
00:51:40,360 --> 00:51:43,120
Speaker 2: She doesn't know that that he's a murderer, right.

959
00:51:43,040 --> 00:51:45,520
Speaker 3: She doesn't know about that, but she does want the money,

960
00:51:45,800 --> 00:51:48,920
Speaker 3: and Matthew is like, well, there's a problem. The insurance

961
00:51:49,000 --> 00:51:51,760
Speaker 3: was hesitant to pay out because they couldn't verify whether

962
00:51:51,840 --> 00:51:55,080
Speaker 3: Jared was alive or dead, and Cathy says, yeah, they

963
00:51:55,120 --> 00:52:00,839
Speaker 3: always want a corpse giggle. But then it seems like

964
00:52:00,880 --> 00:52:04,000
Speaker 3: the insurance check finally just came through today, So Matthew

965
00:52:04,200 --> 00:52:07,200
Speaker 3: is he has possession of the money, and Kathy is

966
00:52:07,239 --> 00:52:11,640
Speaker 3: positively cooing and twittering about this, and he says, where

967
00:52:11,640 --> 00:52:13,799
Speaker 3: would you like to go? Atlantic City? But she wants

968
00:52:13,840 --> 00:52:16,520
Speaker 3: to go to Niagara Falls to get married. She says,

969
00:52:16,600 --> 00:52:20,359
Speaker 3: you know, make it legitimate, and I laughed out loud

970
00:52:20,400 --> 00:52:23,080
Speaker 3: at Matthew's reaction to this. He gets very kind of

971
00:52:23,320 --> 00:52:25,080
Speaker 3: somber and he's like check please.

972
00:52:25,440 --> 00:52:25,680
Speaker 2: Yeah.

973
00:52:26,760 --> 00:52:30,400
Speaker 3: But later that night, Matthew returns to his office alone

974
00:52:30,840 --> 00:52:34,040
Speaker 3: and we see him go into this lonely building, this

975
00:52:34,120 --> 00:52:37,880
Speaker 3: empty office at night and retrieve some money from his safe.

976
00:52:38,360 --> 00:52:42,800
Speaker 3: But as he's doing so, a black gloved hand reaches

977
00:52:42,880 --> 00:52:45,240
Speaker 3: up over the back of the sofa in his office

978
00:52:45,480 --> 00:52:49,120
Speaker 3: and a shadowy figure emerges, a man dressed in all

979
00:52:49,160 --> 00:52:52,440
Speaker 3: black with a wide brimmed black hat and a face

980
00:52:52,640 --> 00:52:56,320
Speaker 3: scarred beyond recognition. And I don't know if there's supposed

981
00:52:56,360 --> 00:52:58,560
Speaker 3: to be any mystery about who it is at this point,

982
00:52:58,640 --> 00:53:00,799
Speaker 3: but obviously it's Jared. Who else would it be?

983
00:53:01,480 --> 00:53:06,520
Speaker 2: Yeah, and it man again. The makeup is just impressive.

984
00:53:07,239 --> 00:53:10,040
Speaker 2: They do some great stuff with not only you know,

985
00:53:10,200 --> 00:53:14,200
Speaker 2: layering onto Vincent Price's face, but also keeping Vincent Price

986
00:53:14,280 --> 00:53:18,680
Speaker 2: recognizable through the makeup, but also distorting his natural features

987
00:53:18,680 --> 00:53:20,680
Speaker 2: a little bit, like pulling his lip down on one

988
00:53:20,760 --> 00:53:22,799
Speaker 2: side I think he has. Later we see that in

989
00:53:22,840 --> 00:53:24,799
Speaker 2: like one of his ears is kind of pinned back

990
00:53:24,840 --> 00:53:28,280
Speaker 2: as well, great makeup. You can't fault them for showing

991
00:53:28,320 --> 00:53:31,040
Speaker 2: it a lot and early in the picture, right.

992
00:53:31,600 --> 00:53:34,200
Speaker 3: So he creeps up on Matthew, he dims the lamp

993
00:53:34,239 --> 00:53:36,760
Speaker 3: on the wall, and then he pounces and strangles Matthew

994
00:53:36,800 --> 00:53:39,160
Speaker 3: with a length of rope, and then we see the

995
00:53:39,160 --> 00:53:41,560
Speaker 3: figure creeping away from the scene of the crime. You

996
00:53:41,600 --> 00:53:44,560
Speaker 3: think he's running away, but no, he is staging a

997
00:53:44,640 --> 00:53:48,080
Speaker 3: crime scene. Instead, he secures a rope to an elevator

998
00:53:48,120 --> 00:53:51,319
Speaker 3: shaft and then drops Matthew's body to make it look

999
00:53:51,400 --> 00:53:55,880
Speaker 3: like a suicide. So you would think at this point, okay,

1000
00:53:56,400 --> 00:54:00,600
Speaker 3: Vincent Price's revenge checklist complete, Like it seems like this

1001
00:54:00,719 --> 00:54:03,080
Speaker 3: revenge plot would have taken the whole movie, But no,

1002
00:54:03,239 --> 00:54:06,040
Speaker 3: it is done within twenty minutes. So what is the

1003
00:54:06,080 --> 00:54:08,040
Speaker 3: rest of the drama going to consist of?

1004
00:54:08,360 --> 00:54:10,759
Speaker 2: Yeah, that's right, Doctor Fibbes would have taken up the

1005
00:54:10,880 --> 00:54:13,719
Speaker 2: entire length of the film trying to pull off this

1006
00:54:13,880 --> 00:54:16,840
Speaker 2: level of completion with his revenge.

1007
00:54:17,040 --> 00:54:20,080
Speaker 3: Well, let's check in with Mattie's fiance Kathy and her

1008
00:54:20,160 --> 00:54:25,240
Speaker 3: roommates Sue. So again, it's funny because while Carolyn Jones

1009
00:54:25,239 --> 00:54:28,239
Speaker 3: did the Betty Boot voice for Matthew. She comes off

1010
00:54:28,239 --> 00:54:31,279
Speaker 3: as savvy and even cynical when talking with Sue, so

1011
00:54:31,320 --> 00:54:35,080
Speaker 3: she's no longer playing at naive and she's talking to

1012
00:54:35,120 --> 00:54:39,319
Speaker 3: her roommate Sue, and Sue is Phyllis Kirk and she's like, well,

1013
00:54:39,400 --> 00:54:41,319
Speaker 3: you know, Mattie was going to marry me, so I

1014
00:54:41,360 --> 00:54:43,440
Speaker 3: thought I could get my hands on that insurance money.

1015
00:54:43,440 --> 00:54:47,840
Speaker 3: But he's dead. Lol. Anyway, I've got a new date tonight,

1016
00:54:47,960 --> 00:54:52,000
Speaker 3: and he's real handsome and he's a free spender. Meanwhile,

1017
00:54:52,239 --> 00:54:55,279
Speaker 3: Kathy is like bracing against a door frame while Sue

1018
00:54:55,320 --> 00:54:59,440
Speaker 3: pulls her course at laces tighter, and Kathy's very excited

1019
00:54:59,440 --> 00:55:02,880
Speaker 3: about about her new bow. Again, he's you know, he's

1020
00:55:02,880 --> 00:55:04,920
Speaker 3: he's a free spender. He's going to take her to

1021
00:55:04,960 --> 00:55:07,879
Speaker 3: a place called the Hoffman House for dinner and then

1022
00:55:07,920 --> 00:55:11,759
Speaker 3: to quote Tony Pastors for the vaudeville show, which I

1023
00:55:11,760 --> 00:55:13,920
Speaker 3: don't know. That doesn't sound like a cheap day. Does

1024
00:55:13,960 --> 00:55:15,719
Speaker 3: sound like he's pay he's paying up to go to

1025
00:55:15,760 --> 00:55:16,600
Speaker 3: the nice places.

1026
00:55:17,000 --> 00:55:20,279
Speaker 2: But when we do see the vaudeville show, it's another again.

1027
00:55:20,320 --> 00:55:22,120
Speaker 2: I think it's a three D showcase. We get that

1028
00:55:22,200 --> 00:55:26,799
Speaker 2: three D code approved push pushed at the camera like

1029
00:55:26,840 --> 00:55:29,520
Speaker 2: the what do you call the sort of pants that

1030
00:55:29,520 --> 00:55:30,400
Speaker 2: they're wearing with all the.

1031
00:55:30,440 --> 00:55:33,920
Speaker 3: Ruffles, the ruffel pants underneath the dress, I don't know what.

1032
00:55:34,040 --> 00:55:38,560
Speaker 2: Yeah, all that, Yeah, so you knows. And pantaloons. Yeah,

1033
00:55:38,600 --> 00:55:44,120
Speaker 2: not even remotely riskue by modern modern standards. But I

1034
00:55:44,120 --> 00:55:46,880
Speaker 2: guess this is a slightly risky moment in this film.

1035
00:55:47,040 --> 00:55:48,839
Speaker 3: Well, we don't see it in this scene. We see

1036
00:55:48,880 --> 00:55:53,239
Speaker 3: it later when hilariously Scott takes Sue there to take

1037
00:55:53,239 --> 00:55:55,640
Speaker 3: her mind off the fact that she is being chased

1038
00:55:55,640 --> 00:55:56,560
Speaker 3: by a melted man.

1039
00:55:57,040 --> 00:55:59,120
Speaker 2: Yeah, but we learn a.

1040
00:55:59,040 --> 00:56:03,040
Speaker 3: Bit here about Kathy and Sue's relationship, So the dynamic

1041
00:56:03,080 --> 00:56:06,040
Speaker 3: seems to be that Kathy is she has an active

1042
00:56:06,080 --> 00:56:08,520
Speaker 3: social life and a nose for money. She's trying to

1043
00:56:08,560 --> 00:56:12,080
Speaker 3: marry rich, whereas Sue seems very modest and she's kind

1044
00:56:12,080 --> 00:56:14,560
Speaker 3: of a homebody. And if this movie were set one

1045
00:56:14,600 --> 00:56:16,800
Speaker 3: hundred years later, I think Sue would be a nerd

1046
00:56:16,880 --> 00:56:19,520
Speaker 3: with glasses who doesn't, you know, take her glasses off

1047
00:56:19,600 --> 00:56:22,200
Speaker 3: until the scene in the third act where she's modeling

1048
00:56:22,239 --> 00:56:23,760
Speaker 3: to be Marie Antoinette or something.

1049
00:56:24,040 --> 00:56:26,759
Speaker 2: Yeah, but you definitely get the vibe here that they're

1050
00:56:26,800 --> 00:56:29,680
Speaker 2: both doing what they can to straight buy and make

1051
00:56:29,719 --> 00:56:30,600
Speaker 2: it in a man's world.

1052
00:56:30,840 --> 00:56:33,359
Speaker 3: That's right. And you know what, I liked their relationship.

1053
00:56:33,400 --> 00:56:35,799
Speaker 3: They're good friends and they take care of each other.

1054
00:56:36,400 --> 00:56:38,920
Speaker 3: Kathy says, you know, we're so different. You've got the brains,

1055
00:56:38,960 --> 00:56:42,840
Speaker 3: and what I've got is well what I've got. And

1056
00:56:42,080 --> 00:56:45,960
Speaker 3: so Sue has in this at the beginning. Here come

1057
00:56:45,960 --> 00:56:48,280
Speaker 3: on hard times. She's out of work and out of money,

1058
00:56:48,280 --> 00:56:51,440
Speaker 3: and Kathy's helping her out. She right before she leaves

1059
00:56:51,480 --> 00:56:53,920
Speaker 3: for the date, she gives her the last fifty cents

1060
00:56:53,920 --> 00:56:56,000
Speaker 3: in her purse to buy some supper and says, I

1061
00:56:56,040 --> 00:56:58,600
Speaker 3: don't need any mad money. I never get mad. So

1062
00:56:58,760 --> 00:57:01,319
Speaker 3: later that night, Sue comes home after trying to get

1063
00:57:01,360 --> 00:57:04,960
Speaker 3: a job as a hat check attendant working under some

1064
00:57:05,200 --> 00:57:08,560
Speaker 3: tyrannical theater manager. That doesn't work out. She doesn't get

1065
00:57:08,560 --> 00:57:10,759
Speaker 3: the job. We don't see that scene, but we get

1066
00:57:10,760 --> 00:57:13,160
Speaker 3: the impression that it's because the theater manager is a

1067
00:57:13,200 --> 00:57:15,720
Speaker 3: creep and Sue wouldn't put up with it and just left.

1068
00:57:16,240 --> 00:57:18,800
Speaker 3: So Sue's trying to sneak up to her room, but

1069
00:57:18,920 --> 00:57:22,360
Speaker 3: the land lady of their building is posted like a sentry.

1070
00:57:22,440 --> 00:57:25,680
Speaker 3: She's waiting in the parlor to demand rent. Immediately like,

1071
00:57:25,720 --> 00:57:28,439
Speaker 3: you cannot stay here tonight unless you give me the rent.

1072
00:57:28,480 --> 00:57:30,960
Speaker 3: And I think Sue was waiting for Kathy to get

1073
00:57:31,000 --> 00:57:33,920
Speaker 3: back from her date with some money so she could

1074
00:57:34,240 --> 00:57:36,280
Speaker 3: so that could she could borrow it from her, so

1075
00:57:36,360 --> 00:57:37,160
Speaker 3: that could be the rent.

1076
00:57:37,200 --> 00:57:39,440
Speaker 2: I think, m yeah, I believe that was the arrangement.

1077
00:57:39,640 --> 00:57:41,360
Speaker 3: Yeah. Yeah, So Sue goes up to the room to

1078
00:57:41,360 --> 00:57:44,360
Speaker 3: see if she can borrow the money, but instead Kathy

1079
00:57:44,480 --> 00:57:47,720
Speaker 3: is dead. She finds Kathy murdered in her room, and

1080
00:57:47,760 --> 00:57:51,120
Speaker 3: then she is startled by a terrifying melted man in black,

1081
00:57:51,200 --> 00:57:54,600
Speaker 3: the same man we saw killing Matthew Burke, and a

1082
00:57:54,720 --> 00:57:58,320
Speaker 3: chase scene follows. I would say, very good tense chase scene.

1083
00:57:58,560 --> 00:58:01,400
Speaker 3: Sue escapes out the window and onto the streets below,

1084
00:58:01,480 --> 00:58:03,919
Speaker 3: and then the melted man in black runs after her,

1085
00:58:04,360 --> 00:58:07,560
Speaker 3: and they're chasing through this maze of alley ways in

1086
00:58:07,600 --> 00:58:10,800
Speaker 3: a foggy night, so barely escapes, making it to the

1087
00:58:10,800 --> 00:58:14,240
Speaker 3: home of a friend, a sculptor named Scott Andrews who

1088
00:58:14,240 --> 00:58:17,120
Speaker 3: lives with his mother. Again thumbs up to the chase scene.

1089
00:58:17,160 --> 00:58:18,720
Speaker 3: I love the street sets.

1090
00:58:19,520 --> 00:58:25,480
Speaker 2: Yeah, yeah, the great, great, great streets they create here, dark, gothic, wonderful.

1091
00:58:25,520 --> 00:58:28,600
Speaker 3: So police investigators the next day arrive at the scene

1092
00:58:28,640 --> 00:58:30,480
Speaker 3: of Kathy's murder, or maybe it's later that night, I

1093
00:58:30,520 --> 00:58:33,160
Speaker 3: don't know. I don't know. They show up and they're

1094
00:58:33,160 --> 00:58:35,760
Speaker 3: trying to figure out what's going on at the morgue.

1095
00:58:35,800 --> 00:58:38,560
Speaker 3: They determine the cause of death with strangulation, and they

1096
00:58:39,120 --> 00:58:42,800
Speaker 3: determined that she had been drugged, probably in a drink beforehand.

1097
00:58:43,240 --> 00:58:43,479
Speaker 2: Hmm.

1098
00:58:43,720 --> 00:58:46,160
Speaker 3: It makes you wonder who her date was with was

1099
00:58:46,240 --> 00:58:49,800
Speaker 3: the date involved in the murder, but we assume also

1100
00:58:49,880 --> 00:58:52,440
Speaker 3: that her date was not with the melted Vincent Price,

1101
00:58:52,480 --> 00:58:55,400
Speaker 3: because she says the guy she was going out with

1102
00:58:55,560 --> 00:58:56,720
Speaker 3: was very handsome.

1103
00:58:57,080 --> 00:58:59,960
Speaker 2: Yeah, they never really tell us one way or an.

1104
00:59:00,920 --> 00:59:03,920
Speaker 2: I guess, if I had to try and put it

1105
00:59:03,960 --> 00:59:06,960
Speaker 2: together in my head, I guess maybe one of Vincent

1106
00:59:06,960 --> 00:59:09,280
Speaker 2: Price's two underlings that we meet later.

1107
00:59:09,560 --> 00:59:12,440
Speaker 3: Or it could be Vincent Price with the with the

1108
00:59:13,040 --> 00:59:14,400
Speaker 3: wax face we see him with later.

1109
00:59:15,040 --> 00:59:17,720
Speaker 2: I guess you'd think the cops would figure this out, though, like,

1110
00:59:17,800 --> 00:59:20,280
Speaker 2: who is she saying? This is not a police procedural,

1111
00:59:20,320 --> 00:59:23,400
Speaker 2: So if we don't even go down this direction anyway.

1112
00:59:24,080 --> 00:59:26,320
Speaker 3: At the morgue, there is some comic relief with the

1113
00:59:26,480 --> 00:59:30,520
Speaker 3: orderlies and there's one point where they're in the room

1114
00:59:30,520 --> 00:59:32,400
Speaker 3: with all of the bodies and one of the corpses

1115
00:59:32,440 --> 00:59:35,880
Speaker 3: pops up under the sheet, but the orderly is like, oh, yeah,

1116
00:59:35,880 --> 00:59:39,720
Speaker 3: they do that sometimes it's the embalming fluid. But no,

1117
00:59:39,960 --> 00:59:42,840
Speaker 3: after they leave, it pops up again and it is

1118
00:59:42,880 --> 00:59:46,040
Speaker 3: not the embalming fluid. It is our melted assailant pretending

1119
00:59:46,120 --> 00:59:46,840
Speaker 3: to be a corpse.

1120
00:59:47,680 --> 00:59:50,240
Speaker 2: This whole sequence plays out pretty much exactly like it

1121
00:59:50,280 --> 00:59:53,400
Speaker 2: does in the original picture, and in the original picture

1122
00:59:53,440 --> 00:59:57,840
Speaker 2: also just a very haunting scene of the of the morgue.

1123
00:59:58,280 --> 01:00:01,200
Speaker 2: So yeah, they recreate it well, I think.

1124
01:00:01,600 --> 01:00:03,800
Speaker 3: But he locates the body of Kathy Gray and he

1125
01:00:03,840 --> 01:00:06,640
Speaker 3: proceeds to steal it from the morgue. He lowers the

1126
01:00:06,680 --> 01:00:09,160
Speaker 3: body out the window to a couple of co conspirators

1127
01:00:09,200 --> 01:00:12,920
Speaker 3: waiting below, who are also dressed in dark cloaks and hats.

1128
01:00:13,600 --> 01:00:15,840
Speaker 3: And I did laugh here because the fake body prop

1129
01:00:15,960 --> 01:00:19,240
Speaker 3: they use for the rope lowering is very stiff and

1130
01:00:19,320 --> 01:00:23,800
Speaker 3: obviously very light. Later, Sue and her friend Scott and

1131
01:00:23,800 --> 01:00:26,920
Speaker 3: Scott's mother are at the police station being interrogated, and

1132
01:00:26,960 --> 01:00:30,640
Speaker 3: the interrogation consists of the police asking things like, quote,

1133
01:00:31,000 --> 01:00:34,720
Speaker 3: are you sure you didn't imagine all of it, and

1134
01:00:34,840 --> 01:00:37,480
Speaker 3: also they tell her it is impossible for a human

1135
01:00:37,520 --> 01:00:41,120
Speaker 3: being to look the way you described. Oh and we

1136
01:00:41,160 --> 01:00:43,160
Speaker 3: find out in the scene that the body of Matthew

1137
01:00:43,200 --> 01:00:46,160
Speaker 3: Burke was similarly stolen from the morgue.

1138
01:00:46,320 --> 01:00:50,360
Speaker 2: Yeah, it gradually becomes apparent that bodies are being stolen

1139
01:00:50,560 --> 01:00:52,479
Speaker 2: and bodies are disappearing all over town.

1140
01:00:53,040 --> 01:01:04,080
Speaker 3: Right, So a new scene later Sidney Wallace remember him,

1141
01:01:04,080 --> 01:01:06,120
Speaker 3: He was the investor who had to go to Egypt

1142
01:01:06,160 --> 01:01:08,480
Speaker 3: for three weeks, but he was going to invest in

1143
01:01:08,840 --> 01:01:11,520
Speaker 3: Henry Jared's museum. Well, he shows up at a door

1144
01:01:11,560 --> 01:01:14,720
Speaker 3: in an alleyway and he's greeted by a young jacked

1145
01:01:14,920 --> 01:01:18,880
Speaker 3: Charles Bronson, who we will later be informed is named Egor.

1146
01:01:19,360 --> 01:01:22,520
Speaker 2: Yeah. Yeah, By the way, one thing I pointed out

1147
01:01:22,520 --> 01:01:26,560
Speaker 2: in the documentary is that Bronson was already pretty big

1148
01:01:27,400 --> 01:01:33,200
Speaker 2: in Italy under his birth name, but he was big

1149
01:01:33,280 --> 01:01:37,240
Speaker 2: enough that when they put the poster out for the

1150
01:01:37,280 --> 01:01:41,280
Speaker 2: Italian market, his head is prominently featured, like it's almost

1151
01:01:41,360 --> 01:01:42,920
Speaker 2: like starring Charles Bronson.

1152
01:01:43,200 --> 01:01:46,160
Speaker 3: Well, his head is actually prominent in the movie because

1153
01:01:46,200 --> 01:01:49,840
Speaker 3: there are multiple wax casts of it. Because what we

1154
01:01:50,000 --> 01:01:52,920
Speaker 3: learn in the scene is that Egor is one of

1155
01:01:52,960 --> 01:01:57,000
Speaker 3: the pupils of Professor Jared, now revealed to be still alive,

1156
01:01:57,520 --> 01:02:01,000
Speaker 3: and Igor tries to make wax figures of other people,

1157
01:02:01,040 --> 01:02:05,120
Speaker 3: but he always ends up making his own face. That

1158
01:02:05,200 --> 01:02:09,000
Speaker 3: almost seems like an interesting, rare neurological condition where you

1159
01:02:09,080 --> 01:02:12,520
Speaker 3: perceive everybody else's face to be exactly the same, everybody

1160
01:02:12,560 --> 01:02:14,080
Speaker 3: else's face to be the same as your own.

1161
01:02:14,200 --> 01:02:15,720
Speaker 2: Yeah, it seems like the kind of thing you might

1162
01:02:15,800 --> 01:02:18,560
Speaker 2: build an entire Twilight Zone episode out of, but it's

1163
01:02:18,600 --> 01:02:19,600
Speaker 2: not really explored here.

1164
01:02:19,840 --> 01:02:22,320
Speaker 3: Well anyway, so Wallace here, He says he got a

1165
01:02:22,400 --> 01:02:25,120
Speaker 3: letter telling him to come meet Professor Jared at this address,

1166
01:02:25,200 --> 01:02:27,720
Speaker 3: and yet he's confused because Professor Jared is supposed to

1167
01:02:27,760 --> 01:02:30,800
Speaker 3: be dead. But nope, here is Vincent Price and not melted.

1168
01:02:30,880 --> 01:02:35,040
Speaker 3: He looks like regular unmelted Vincent Price. His hands are

1169
01:02:35,080 --> 01:02:37,720
Speaker 3: scarred and he moves with the help of a wheelchair,

1170
01:02:37,760 --> 01:02:41,520
Speaker 3: but his face is back to normal, and Jared says, hey, Wallace,

1171
01:02:41,760 --> 01:02:44,200
Speaker 3: I'm opening a new wax museum. This one will be

1172
01:02:44,240 --> 01:02:48,520
Speaker 3: dedicated to the themes of terror, agony, crime, malice, and execution,

1173
01:02:49,120 --> 01:02:51,400
Speaker 3: and we're going to send people into the streets telling

1174
01:02:51,440 --> 01:02:54,320
Speaker 3: their friends how wonderful it is. To be scared to death.

1175
01:02:54,720 --> 01:02:57,440
Speaker 3: Do you want end? Do you want to invest? Seems

1176
01:02:57,520 --> 01:02:59,560
Speaker 3: like Wallace is going to invest, but he shows him

1177
01:02:59,560 --> 01:03:02,240
Speaker 3: around for He's like, you know, here's my facility. Here

1178
01:03:02,320 --> 01:03:05,600
Speaker 3: is Charles Bronson. This is my student. He makes wax faces.

1179
01:03:05,640 --> 01:03:07,560
Speaker 3: Now that my hands are too scarred to do it.

1180
01:03:08,080 --> 01:03:11,439
Speaker 3: He's got another student downstairs named Leon. He also does

1181
01:03:11,480 --> 01:03:13,960
Speaker 3: the wax for him. Oh and here is my giant

1182
01:03:14,200 --> 01:03:15,680
Speaker 3: vat of boiling wax.

1183
01:03:17,200 --> 01:03:19,680
Speaker 2: Oh, I love this vat of wax. It's got this

1184
01:03:19,840 --> 01:03:23,800
Speaker 2: pink tent to it. Just looks amazing.

1185
01:03:24,440 --> 01:03:27,080
Speaker 3: And he shows how he uses the boiling wax to

1186
01:03:27,880 --> 01:03:31,439
Speaker 3: make the skin that he pours. He uses a sort

1187
01:03:31,480 --> 01:03:35,200
Speaker 3: of sprinkler system to pour the melted wax over the

1188
01:03:35,240 --> 01:03:38,280
Speaker 3: mold of a body, which is made of plaster, by

1189
01:03:38,320 --> 01:03:41,200
Speaker 3: the way, not flesh. And then he reveals the most

1190
01:03:41,240 --> 01:03:45,120
Speaker 3: recent wax effigy he has finished. Igor opens a box

1191
01:03:45,160 --> 01:03:48,400
Speaker 3: which just looks like a coffin standing up, and then oh,

1192
01:03:48,960 --> 01:03:52,560
Speaker 3: there is Matthew Burke. He looks so lifelike. And he

1193
01:03:52,640 --> 01:03:55,600
Speaker 3: falls toward the camera out of the box, and Price

1194
01:03:55,640 --> 01:03:58,920
Speaker 3: says he hanged himself in an elevator shaft, and then

1195
01:03:59,080 --> 01:04:05,520
Speaker 3: intermission So my version of this movie, the intermission card

1196
01:04:05,800 --> 01:04:09,800
Speaker 3: just said intermission. But I found screenshots of the intermission

1197
01:04:09,880 --> 01:04:14,080
Speaker 3: card on the internet that said intermission ten minutes. What's

1198
01:04:14,160 --> 01:04:15,080
Speaker 3: what's going on there?

1199
01:04:15,280 --> 01:04:17,800
Speaker 2: I believe the version I watched said ten minutes as well.

1200
01:04:18,320 --> 01:04:20,560
Speaker 2: I didn't go back and double check, but I remember

1201
01:04:20,600 --> 01:04:23,960
Speaker 2: when it came up it I was like, oh, I've

1202
01:04:23,960 --> 01:04:25,880
Speaker 2: got I've got some time here. But then we don't

1203
01:04:25,880 --> 01:04:29,040
Speaker 2: get the actual ten minutes or whatever, so we go

1204
01:04:29,120 --> 01:04:31,200
Speaker 2: right back into the picture. But I have to say

1205
01:04:31,320 --> 01:04:33,040
Speaker 2: I kind of missed the When I do go to

1206
01:04:33,080 --> 01:04:35,200
Speaker 2: a theater these days, I kind of miss the intermission,

1207
01:04:35,560 --> 01:04:38,840
Speaker 2: especially when we're dealing with like three hour long pictures

1208
01:04:39,360 --> 01:04:43,280
Speaker 2: and you know, you're drinking coffee. You need to get

1209
01:04:43,360 --> 01:04:45,240
Speaker 2: up and go to the bathroom after a while, and

1210
01:04:45,280 --> 01:04:47,080
Speaker 2: you just have to sort of guess or maybe do

1211
01:04:47,160 --> 01:04:50,080
Speaker 2: some research and find out what scenes you need to

1212
01:04:50,400 --> 01:04:52,240
Speaker 2: you need to hit, and then it's got to be

1213
01:04:52,360 --> 01:04:54,960
Speaker 2: this this rushed affair to use the bathroom and get

1214
01:04:54,960 --> 01:04:56,920
Speaker 2: back to the seat. It seems like why not do

1215
01:04:57,000 --> 01:05:00,000
Speaker 2: the intermissions, especially in these theaters where you have an

1216
01:05:00,240 --> 01:05:03,800
Speaker 2: seats nowadays, like let people stroll out there, use the bathroom,

1217
01:05:03,960 --> 01:05:05,800
Speaker 2: buy some more food and what have you?

1218
01:05:06,240 --> 01:05:10,000
Speaker 3: Agreed? Intermissions are nice, but yeah, likewise my version of

1219
01:05:10,040 --> 01:05:12,880
Speaker 3: the movie, the intermission only lasted a few seconds. So

1220
01:05:13,000 --> 01:05:16,880
Speaker 3: after the intermission, the new house of Wax is open

1221
01:05:17,000 --> 01:05:20,640
Speaker 3: and it is bustling. It's obviously doing great business. It

1222
01:05:20,720 --> 01:05:24,880
Speaker 3: is also deeply morbid and prurient. All it's just wax

1223
01:05:24,960 --> 01:05:29,040
Speaker 3: executions and belly dancers, and Vincent Price is going around

1224
01:05:29,080 --> 01:05:32,240
Speaker 3: handing out smelling salts to the ladies who are fainting

1225
01:05:33,080 --> 01:05:35,480
Speaker 3: in the middle of his museum. And here's the part

1226
01:05:35,480 --> 01:05:39,240
Speaker 3: where they have hired a paddle ball barker to get

1227
01:05:39,280 --> 01:05:42,520
Speaker 3: people in the door. He is out front, just whipping

1228
01:05:42,600 --> 01:05:45,520
Speaker 3: the paddleballs and talking a mile a minute.

1229
01:05:45,760 --> 01:05:50,080
Speaker 2: Yeah, Reggie rymu here absolutely threatening any and everyone who

1230
01:05:50,200 --> 01:05:54,480
Speaker 2: comes within paddleball reach of him. Just ride in their faces,

1231
01:05:54,560 --> 01:05:58,520
Speaker 2: then ride in the camera. And he even basically breaks

1232
01:05:58,520 --> 01:06:00,680
Speaker 2: the fourth wall and threatens the mo moviego or and

1233
01:06:00,760 --> 01:06:04,320
Speaker 2: their popcorn, though not in like a total Grimlins two

1234
01:06:04,400 --> 01:06:09,040
Speaker 2: Winky Winky way, but but still it gets dangerously close

1235
01:06:09,120 --> 01:06:09,840
Speaker 2: to that level.

1236
01:06:10,120 --> 01:06:13,439
Speaker 3: I don't know, I think it is almost Krimlin's two level,

1237
01:06:13,440 --> 01:06:16,200
Speaker 3: because he's starting to say he looks directly into the

1238
01:06:16,240 --> 01:06:18,840
Speaker 3: camera and he says, I see you. So what he's

1239
01:06:18,840 --> 01:06:21,240
Speaker 3: doing already is he's hitting the paddle ball at like

1240
01:06:21,960 --> 01:06:24,080
Speaker 3: somebody's hat. He's like, I can knock the feather off

1241
01:06:24,080 --> 01:06:27,240
Speaker 3: of your hat, and he's, you know, doing that. But

1242
01:06:27,280 --> 01:06:29,440
Speaker 3: then he looks into the camera he says, look, you

1243
01:06:29,480 --> 01:06:32,200
Speaker 3: they're holding a box of popcorn. I'm going to hit

1244
01:06:32,200 --> 01:06:33,000
Speaker 3: the popcorn.

1245
01:06:34,360 --> 01:06:37,120
Speaker 2: Yeah. Yeah, But but if you really want to do

1246
01:06:37,240 --> 01:06:39,680
Speaker 2: you could think, well, there's a kid with popcorn there

1247
01:06:39,680 --> 01:06:42,520
Speaker 2: on the street, and that's what he's aiming at. And

1248
01:06:42,600 --> 01:06:45,080
Speaker 2: it's just out of We can't see it because we're

1249
01:06:45,200 --> 01:06:51,000
Speaker 2: that's where we're positioned. But yeah, it's it's still very gimmicky.

1250
01:06:51,000 --> 01:06:53,080
Speaker 2: It's a very gimmicky moment. This is the moment of

1251
01:06:53,120 --> 01:06:56,280
Speaker 2: the film where they're fully embracing the gimmick of three D,

1252
01:06:56,680 --> 01:06:59,400
Speaker 2: and not for immersion in the picture, but just for

1253
01:06:59,600 --> 01:07:00,960
Speaker 2: the tactical itself.

1254
01:07:01,080 --> 01:07:05,960
Speaker 3: So many pretensions Henry Jared had of keeping dignity and

1255
01:07:06,080 --> 01:07:09,439
Speaker 3: fine art as the as the the purpose of music

1256
01:07:09,640 --> 01:07:11,640
Speaker 3: his museum, this has all been abandoned. So he has

1257
01:07:11,680 --> 01:07:14,800
Speaker 3: a gimmicky barker out front get luring people in by

1258
01:07:15,200 --> 01:07:18,000
Speaker 3: taunting them, and when he leads the tour. It is

1259
01:07:18,080 --> 01:07:22,400
Speaker 3: now all wax gore. He's quoting Shakespeare and making comments like, yes,

1260
01:07:22,520 --> 01:07:25,280
Speaker 3: Anne Boleyn, her husband King Henry found a way to

1261
01:07:25,360 --> 01:07:29,200
Speaker 3: cut their marriage short. And then he uses at one point,

1262
01:07:29,240 --> 01:07:33,280
Speaker 3: he uses a guillotine to decapitate a wax French aristocrat

1263
01:07:33,360 --> 01:07:35,160
Speaker 3: and this makes people scream and faint.

1264
01:07:35,520 --> 01:07:39,000
Speaker 2: Yeah, he's just fully embracing all of the gore that

1265
01:07:39,520 --> 01:07:42,600
Speaker 2: he he didn't want to embrace previously. He's like, I'm back,

1266
01:07:42,920 --> 01:07:45,600
Speaker 2: I'm changed. Now you want gore, you got it.

1267
01:07:45,720 --> 01:07:48,600
Speaker 3: Oh and then here's a familiar exhibit he's he's like

1268
01:07:48,640 --> 01:07:51,920
Speaker 3: showing off the scenes of crimes. He's like Matthew Burke,

1269
01:07:52,080 --> 01:07:55,680
Speaker 3: the stockbroker. And I'm just thinking, is this a quote

1270
01:07:55,880 --> 01:07:59,840
Speaker 3: crime worthy of a museum piece? It doesn't make doesn't

1271
01:07:59,840 --> 01:08:03,160
Speaker 3: really fit in with the famous historical executions here.

1272
01:08:03,760 --> 01:08:06,160
Speaker 2: Yeah. Again, it's a moment where this is clearly not

1273
01:08:06,200 --> 01:08:09,440
Speaker 2: a police procedural, because amid all of these historic and

1274
01:08:09,560 --> 01:08:13,560
Speaker 2: famous deaths, here is a less newsworthy death about someone

1275
01:08:13,680 --> 01:08:18,040
Speaker 2: personally connected to me and my business pursuits who died

1276
01:08:18,080 --> 01:08:22,160
Speaker 2: several weeks ago. Yeah, and everyone's like, oh, oh yeah,

1277
01:08:22,360 --> 01:08:23,040
Speaker 2: very impressive.

1278
01:08:23,320 --> 01:08:27,120
Speaker 3: So Sue and Scott Scott the sculptor come to visit

1279
01:08:27,160 --> 01:08:31,760
Speaker 3: the museum, and they're commenting on everything. They're like, wow, yeah,

1280
01:08:31,800 --> 01:08:35,600
Speaker 3: these are really well done. Scott, even as a professional,

1281
01:08:35,720 --> 01:08:39,559
Speaker 3: is highly impressed, and he says Sue has been modeling

1282
01:08:39,600 --> 01:08:42,720
Speaker 3: for him. She's been posing for I guess his sculptures.

1283
01:08:42,880 --> 01:08:44,880
Speaker 3: I don't know if he is a wax sculptor or

1284
01:08:44,920 --> 01:08:47,760
Speaker 3: some other kind of sculptor. I don't recall if they

1285
01:08:47,800 --> 01:08:52,040
Speaker 3: reveal that. But eventually Sue wanders over to the exhibit

1286
01:08:52,080 --> 01:08:54,839
Speaker 3: showing Joan of Arc at the stake ready to be burned.

1287
01:08:55,160 --> 01:08:57,439
Speaker 3: And let's zoom in on her face. Why that looks

1288
01:08:57,439 --> 01:09:02,400
Speaker 3: an awful lot like Carolyn Jones sue roommate Kathy. Sue

1289
01:09:02,439 --> 01:09:05,880
Speaker 3: is greatly disturbed to see her dead friend's face perfectly

1290
01:09:05,920 --> 01:09:09,559
Speaker 3: reproduced in wax sculpture, and she's She starts to kind

1291
01:09:09,560 --> 01:09:11,639
Speaker 3: of freak out about this, but Vincent Price comes over

1292
01:09:11,680 --> 01:09:14,320
Speaker 3: to explain. He says that after she was killed, he

1293
01:09:14,360 --> 01:09:17,760
Speaker 3: saw her face in a picture in the newspaper and

1294
01:09:17,960 --> 01:09:20,080
Speaker 3: use that as a model for his Joan of Arc

1295
01:09:20,640 --> 01:09:24,439
Speaker 3: and Sue accepts this, but still seems troubled by how

1296
01:09:24,479 --> 01:09:28,080
Speaker 3: it can can look so real, and of course Vincent

1297
01:09:28,080 --> 01:09:30,040
Speaker 3: Price is very creepy about it. He says, that's the

1298
01:09:30,080 --> 01:09:35,599
Speaker 3: finest compliment I've ever received. And then Jared starts asking

1299
01:09:35,640 --> 01:09:39,120
Speaker 3: old Scott the sculptor what he's He's like, I hear

1300
01:09:39,120 --> 01:09:41,760
Speaker 3: you're a sculptor, Scott, show me your hands, and then

1301
01:09:41,800 --> 01:09:44,760
Speaker 3: he shows him his hands, and Vincent Price says, yes,

1302
01:09:44,920 --> 01:09:49,200
Speaker 3: mine were once like that, and so they make arrangements

1303
01:09:49,240 --> 01:09:53,680
Speaker 3: to work together sometime. But while Jared is talking, he

1304
01:09:54,040 --> 01:09:58,920
Speaker 3: also just starts hallucinating Sue as Marie Antoinette. She's like

1305
01:09:59,040 --> 01:10:02,559
Speaker 3: fading in and out of of her regular costume and

1306
01:10:02,600 --> 01:10:04,680
Speaker 3: then into the Marie Antoinette get up.

1307
01:10:05,640 --> 01:10:09,360
Speaker 2: Yeah, this is he sees her as his favorite. Is

1308
01:10:09,360 --> 01:10:12,560
Speaker 2: this like he wants to recreate his favorite Marie Antoinette

1309
01:10:12,600 --> 01:10:15,720
Speaker 2: and this is clearly the woman whose likeness he needs

1310
01:10:15,760 --> 01:10:17,240
Speaker 2: to transform into her.

1311
01:10:17,520 --> 01:10:21,200
Speaker 3: Right, He is desperate to wax this woman. So Jared

1312
01:10:21,280 --> 01:10:25,840
Speaker 3: asks Sue to to model for him, and she I

1313
01:10:25,840 --> 01:10:28,360
Speaker 3: think she kind of agrees, but then they leave, and

1314
01:10:28,720 --> 01:10:31,759
Speaker 3: you know they're they're walking out, and we get another

1315
01:10:32,720 --> 01:10:35,160
Speaker 3: another shot of the paddleball guy as we leave. It's

1316
01:10:35,200 --> 01:10:36,280
Speaker 3: like one was not enough.

1317
01:10:37,920 --> 01:10:41,400
Speaker 2: He is really impressive like there at one point. Maybe

1318
01:10:41,439 --> 01:10:44,040
Speaker 2: it's the earliest scene he does the bet where he's

1319
01:10:44,200 --> 01:10:47,120
Speaker 2: using two paddleballs at once, but then he ends up

1320
01:10:47,160 --> 01:10:50,920
Speaker 2: doing three and he catches all the balls in his mouth. Uh,

1321
01:10:51,479 --> 01:10:54,360
Speaker 2: it's it's pretty great. You might not think you need

1322
01:10:54,400 --> 01:10:57,080
Speaker 2: to see this performance, but after you see it, you're

1323
01:10:57,120 --> 01:10:59,439
Speaker 2: like that, that's that's really good. This man was at

1324
01:10:59,479 --> 01:11:00,280
Speaker 2: the top of his game.

1325
01:11:00,560 --> 01:11:03,400
Speaker 3: Later that night, though, when Sue is in her bedroom,

1326
01:11:03,600 --> 01:11:06,200
Speaker 3: we see the melted wax man in the in the

1327
01:11:06,240 --> 01:11:10,120
Speaker 3: hat and cloak sneaking up to the window and he

1328
01:11:10,200 --> 01:11:13,479
Speaker 3: sort of he like throws throws a grappling hook or

1329
01:11:13,479 --> 01:11:16,479
Speaker 3: something and like swings across the alleyway to her window

1330
01:11:16,960 --> 01:11:19,400
Speaker 3: and he's sneaking up on her, but Sue wakes up

1331
01:11:19,439 --> 01:11:22,000
Speaker 3: before he reaches her. She screams and he runs away.

1332
01:11:22,280 --> 01:11:24,600
Speaker 3: And then next we just go straight to the burlesque

1333
01:11:24,680 --> 01:11:28,280
Speaker 3: three D spectacle that you talked about earlier. They're at

1334
01:11:28,280 --> 01:11:30,519
Speaker 3: the music Hall, Sue and Scott her there together and

1335
01:11:30,560 --> 01:11:33,080
Speaker 3: we just get to watch the can Can dancers in

1336
01:11:33,160 --> 01:11:37,800
Speaker 3: three D kicking kicking up a storm. Also time to

1337
01:11:37,840 --> 01:11:40,200
Speaker 3: stop and appreciate a food and bev scene. You know,

1338
01:11:40,280 --> 01:11:43,040
Speaker 3: we we should we should rate the food and beverages

1339
01:11:43,760 --> 01:11:47,160
Speaker 3: in movies more often so. In this scene, our heroes

1340
01:11:47,200 --> 01:11:49,920
Speaker 3: are delivered a logger for the man, a sasparilla for

1341
01:11:49,960 --> 01:11:52,960
Speaker 3: the lady, and two knockwursts on rye. Looks like maybe

1342
01:11:52,960 --> 01:11:56,920
Speaker 3: they get a couple of little cornichans with sausage sandwiches.

1343
01:11:57,160 --> 01:11:59,200
Speaker 3: I rate this movie meal of three out of ten.

1344
01:11:59,600 --> 01:12:02,040
Speaker 2: What. I don't know, if you're in the mood for it,

1345
01:12:02,040 --> 01:12:04,640
Speaker 2: it could work out, you know. Like the cornischans, I

1346
01:12:04,720 --> 01:12:05,520
Speaker 2: like cornerischans.

1347
01:12:05,560 --> 01:12:08,200
Speaker 3: The sandwiches look kind of boring and dry, Like it

1348
01:12:08,200 --> 01:12:10,000
Speaker 3: doesn't even look like the bread is toasted.

1349
01:12:10,080 --> 01:12:13,559
Speaker 2: It just I don't know. The saaspilla looks good. It's

1350
01:12:13,600 --> 01:12:15,559
Speaker 2: in a nice, classy little glass.

1351
01:12:16,120 --> 01:12:21,839
Speaker 3: Okay, agree there. So they're sitting there watching this dance

1352
01:12:21,880 --> 01:12:25,320
Speaker 3: show and Sue is like it doesn't seem proper, all

1353
01:12:25,360 --> 01:12:30,639
Speaker 3: those girls showing their talents, and then Scott explains. He says, look,

1354
01:12:30,680 --> 01:12:32,599
Speaker 3: you've been going around with the weight of the world

1355
01:12:32,680 --> 01:12:36,280
Speaker 3: on your shoulders. You're obsessed with your dead friend reincarnated

1356
01:12:36,280 --> 01:12:39,439
Speaker 3: as a wax mart. You're seeing melted stalkers in your

1357
01:12:39,439 --> 01:12:41,920
Speaker 3: bedroom at night. You need to watch a show like this.

1358
01:12:42,040 --> 01:12:45,400
Speaker 3: To quote bring you back to normalcy. I'd say this

1359
01:12:45,479 --> 01:12:52,120
Speaker 3: is one of the least convincing statements in the film.

1360
01:12:50,200 --> 01:12:52,320
Speaker 2: But anyway, it's Bloomers in three D? What can you

1361
01:12:52,439 --> 01:12:53,400
Speaker 2: what can you say? Oh?

1362
01:12:53,439 --> 01:12:56,200
Speaker 3: Yeah, yeah? And in all honesty, I think this scene

1363
01:12:56,240 --> 01:12:59,040
Speaker 3: probably is just like the paddle Ball, like they wanted

1364
01:12:59,040 --> 01:13:02,679
Speaker 3: an excuse to have a three D a spectacle can

1365
01:13:02,760 --> 01:13:05,639
Speaker 3: can dancers kicking and jamming their butts in your face?

1366
01:13:06,120 --> 01:13:08,120
Speaker 3: So they found a way to fit it into the plot.

1367
01:13:08,160 --> 01:13:10,800
Speaker 3: But you know, it's it's funny, it works, it's pretty good.

1368
01:13:11,280 --> 01:13:12,120
Speaker 2: Yeah.

1369
01:13:12,439 --> 01:13:14,760
Speaker 3: But in the middle of this dance show, Sue is

1370
01:13:14,840 --> 01:13:18,120
Speaker 3: preoccupied with something about the wax joan of Arc. Not

1371
01:13:18,160 --> 01:13:20,880
Speaker 3: only did it look exactly like Kathy, it had an

1372
01:13:20,920 --> 01:13:25,559
Speaker 3: irregular piercing in only one ear, just like the real Kathy.

1373
01:13:26,040 --> 01:13:30,439
Speaker 3: How could Jared have seen that from a newspaper photo?

1374
01:13:30,479 --> 01:13:33,240
Speaker 3: And Scott that. She explains this to Scott and he's like,

1375
01:13:33,320 --> 01:13:34,920
Speaker 3: you know what you need? You need to talk to

1376
01:13:34,960 --> 01:13:37,320
Speaker 3: a cop. I'm gonna take you to the police station

1377
01:13:37,439 --> 01:13:39,719
Speaker 3: tomorrow and they'll tell you there's nothing to worry about.

1378
01:13:40,880 --> 01:13:43,240
Speaker 3: And so she's looking kind of like sad and dejected,

1379
01:13:43,280 --> 01:13:46,280
Speaker 3: while Scott's like, now, relax, honey and enjoy the show,

1380
01:13:46,320 --> 01:13:49,600
Speaker 3: and he's all jazzed up about it. The dancing resumes

1381
01:13:50,320 --> 01:13:53,400
Speaker 3: and then anyway, there is a scene the next day,

1382
01:13:53,400 --> 01:13:55,080
Speaker 3: I think where they get They do go and talk

1383
01:13:55,120 --> 01:13:58,120
Speaker 3: to the police, and unexpectedly the police start investigating this.

1384
01:13:58,240 --> 01:14:00,000
Speaker 3: They go and check on the museum and stuff.

1385
01:14:00,320 --> 01:14:02,600
Speaker 2: Yeah, they don't completely laugh off. I mean they do

1386
01:14:02,720 --> 01:14:05,479
Speaker 2: laugh at her, but they still follow up.

1387
01:14:06,439 --> 01:14:08,559
Speaker 3: Now, there's a few other scenes in here leading up

1388
01:14:08,560 --> 01:14:11,960
Speaker 3: to the climax. There's one part where they're at the

1389
01:14:12,000 --> 01:14:17,719
Speaker 3: museum and she's investigating the Kathy sculpture, and then Vincent

1390
01:14:17,760 --> 01:14:20,760
Speaker 3: Price shows up with a box and opens it and

1391
01:14:20,960 --> 01:14:23,519
Speaker 3: it's a wax sculpture of Sue's own head, and he

1392
01:14:23,560 --> 01:14:25,439
Speaker 3: shows it to Sue. He's like, do you like it?

1393
01:14:27,520 --> 01:14:31,120
Speaker 3: But he still wants her to model sometime. And then meanwhile,

1394
01:14:31,160 --> 01:14:34,040
Speaker 3: also the police are poking around in the museum and

1395
01:14:34,080 --> 01:14:36,280
Speaker 3: they start noticing that a bunch of the wax figures

1396
01:14:36,280 --> 01:14:40,839
Speaker 3: in the room look exactly like the faces of bodies

1397
01:14:40,880 --> 01:14:43,320
Speaker 3: that have recently gone missing from the morgue. But they're

1398
01:14:43,360 --> 01:14:45,759
Speaker 3: just like, huh, that's odd, and just kind of whiffs

1399
01:14:45,800 --> 01:14:49,320
Speaker 3: over their heads. So there's more of a police investigation plot.

1400
01:14:49,320 --> 01:14:53,000
Speaker 3: They interrogate Wallace, they hunt down Leon, one of the

1401
01:14:53,000 --> 01:14:56,040
Speaker 3: two pupils, and arrest him, figure out his real identity

1402
01:14:56,080 --> 01:14:58,479
Speaker 3: and stuff. But it's all building up to this final

1403
01:14:58,479 --> 01:15:02,080
Speaker 3: confrontation where one Night's goes to the wax Museum to

1404
01:15:02,160 --> 01:15:04,320
Speaker 3: meet Scott but she can't find him. And there's a

1405
01:15:04,360 --> 01:15:08,280
Speaker 3: wonderful creepy scene where she's walking around in the darkened

1406
01:15:08,560 --> 01:15:11,400
Speaker 3: museum amongst the exhibits and all these scenes of murder

1407
01:15:11,439 --> 01:15:14,200
Speaker 3: and stuff, and she's calling out Scott Scott, and meanwhile

1408
01:15:14,280 --> 01:15:18,600
Speaker 3: Charles Bronson is creeping around. There's one point where you

1409
01:15:18,720 --> 01:15:21,240
Speaker 3: see a wax head that you think or you see

1410
01:15:21,240 --> 01:15:23,000
Speaker 3: what you think is a wax head, but it's really

1411
01:15:23,080 --> 01:15:24,599
Speaker 3: Charles Bronson's actual head.

1412
01:15:25,160 --> 01:15:26,280
Speaker 2: Yeah, great fake out.

1413
01:15:27,120 --> 01:15:30,400
Speaker 3: And there's a Kathy hair reveal. She like goes up

1414
01:15:30,479 --> 01:15:33,120
Speaker 3: to the sculpture of Joan of Arc and she pulls

1415
01:15:33,120 --> 01:15:36,000
Speaker 3: the wig off and it's Kathy's real blonde hair underneath.

1416
01:15:36,120 --> 01:15:39,720
Speaker 3: All has come delight, that's right, And of course she's

1417
01:15:39,760 --> 01:15:44,200
Speaker 3: confronted here by Charles Bronson and by Vincent Price.

1418
01:15:44,640 --> 01:15:47,040
Speaker 2: Now we get one of the great scenes in this

1419
01:15:47,120 --> 01:15:50,200
Speaker 2: sequence that is also pretty much blow for blow exactly

1420
01:15:50,280 --> 01:15:53,160
Speaker 2: what happens in the nineteen thirties picture as well, where

1421
01:15:53,680 --> 01:15:56,200
Speaker 2: Vincent Price is there. First of all, he gets up

1422
01:15:56,200 --> 01:16:00,200
Speaker 2: out of his wheelchair. So Vincent Price's character here is

1423
01:16:00,200 --> 01:16:06,320
Speaker 2: is actually guilty of what the dude accuses the Big

1424
01:16:06,400 --> 01:16:10,519
Speaker 2: Lebowski off in The Big Lebowski. Oh, he can clearly walk.

1425
01:16:10,560 --> 01:16:12,960
Speaker 2: He's just using the wheelchair as part of this disguise.

1426
01:16:13,080 --> 01:16:13,760
Speaker 3: He's faking it.

1427
01:16:13,840 --> 01:16:17,320
Speaker 2: Yeah, he's faking it. But then she tries to struggle

1428
01:16:17,439 --> 01:16:19,880
Speaker 2: against him, and she hits him in the face a

1429
01:16:19,920 --> 01:16:23,400
Speaker 2: couple of times. And when she does it, like smashes

1430
01:16:23,479 --> 01:16:28,479
Speaker 2: open his waxen false face, this wax face that he's

1431
01:16:28,479 --> 01:16:32,080
Speaker 2: wearing that makes him look like Vincent Price, and reveals

1432
01:16:32,120 --> 01:16:35,840
Speaker 2: this heavily scarred visage beneath. It's a wonderful moment. It

1433
01:16:35,880 --> 01:16:38,360
Speaker 2: was a great moment in the original film, but this

1434
01:16:38,479 --> 01:16:42,200
Speaker 2: movie actually improves upon it with even better makeup, with

1435
01:16:42,240 --> 01:16:44,800
Speaker 2: this amazing full color makeup.

1436
01:16:44,720 --> 01:16:47,960
Speaker 3: Agree excellent reveal. It's not much of a surprise because

1437
01:16:48,000 --> 01:16:50,720
Speaker 3: I mean, again, who else would this melted guy be? Like,

1438
01:16:50,760 --> 01:16:53,519
Speaker 3: you know, it's got to be Vincent Price. But yeah,

1439
01:16:53,600 --> 01:16:56,439
Speaker 3: a wonderful scene. And then this leads up to the

1440
01:16:56,560 --> 01:17:00,280
Speaker 3: ending where now Sue is you know, she's basically she

1441
01:17:00,439 --> 01:17:03,320
Speaker 3: has been tied to the train tracks by snidely whiplash.

1442
01:17:03,400 --> 01:17:06,880
Speaker 3: In this case, she is laying down on the table

1443
01:17:07,040 --> 01:17:09,400
Speaker 3: in the basement of the Wax Museum under the big

1444
01:17:09,560 --> 01:17:14,120
Speaker 3: vat of boiling wax. So because the plan is that

1445
01:17:14,200 --> 01:17:16,880
Speaker 3: Jared is going to waxify Sue and turn her into

1446
01:17:16,880 --> 01:17:19,280
Speaker 3: his new Marie Antoinette while she's still alive.

1447
01:17:19,720 --> 01:17:22,240
Speaker 2: Yeah, and you know, despite this being very much like

1448
01:17:22,280 --> 01:17:26,719
Speaker 2: a code approved film, we have implied nudity here. She's

1449
01:17:26,800 --> 01:17:28,960
Speaker 2: supposed to be nude in there, and of course you

1450
01:17:29,000 --> 01:17:31,599
Speaker 2: know we'd never see any of the nudity, but it's

1451
01:17:31,640 --> 01:17:34,960
Speaker 2: heavily implied. And later, like when she's rescued, somebody has

1452
01:17:34,960 --> 01:17:35,719
Speaker 2: to throw a coat.

1453
01:17:35,600 --> 01:17:39,760
Speaker 3: Over her, implied nudity being a hilarious content warning that

1454
01:17:39,800 --> 01:17:44,439
Speaker 3: we once saw on the IMDb parental Guide. Yes, I mean,

1455
01:17:44,560 --> 01:17:48,080
Speaker 3: isn't the presence of any human body technically a case

1456
01:17:48,120 --> 01:17:49,200
Speaker 3: of implied nudity?

1457
01:17:49,240 --> 01:17:55,360
Speaker 2: It's like there somewhere. Yeah, So the is the film wine,

1458
01:17:55,360 --> 01:17:57,679
Speaker 2: So it's close here. They do a great job building

1459
01:17:57,760 --> 01:18:01,280
Speaker 2: the tension. We have these these dual scenes going on

1460
01:18:01,520 --> 01:18:05,080
Speaker 2: where there's the battle against Igor on one hand, and

1461
01:18:05,120 --> 01:18:08,080
Speaker 2: then there's Jared's wax preparations for Sue in the basement.

1462
01:18:08,760 --> 01:18:13,479
Speaker 2: I thought both sequences were really skillfully composed and cut

1463
01:18:13,479 --> 01:18:14,120
Speaker 2: together here.

1464
01:18:14,880 --> 01:18:17,600
Speaker 3: Yes, I agree, very tense sequence. Sue is in the

1465
01:18:17,600 --> 01:18:21,000
Speaker 3: basement about to be waxed alive Scott. Meanwhile, he gets

1466
01:18:21,000 --> 01:18:23,080
Speaker 3: in the fight with Charles Bronson, and then Charles Bronson

1467
01:18:23,160 --> 01:18:27,080
Speaker 3: wins and then puts him in the guillotine to guillotine him,

1468
01:18:27,400 --> 01:18:29,920
Speaker 3: and then at the last moment they are saved by

1469
01:18:29,960 --> 01:18:33,719
Speaker 3: the arrival of the police. Which you know, that's a classic.

1470
01:18:33,760 --> 01:18:38,200
Speaker 3: It's a very fifties movie kind of ending, one that

1471
01:18:38,240 --> 01:18:42,200
Speaker 3: I always find incredibly unsatisfying. The hero and the heroin

1472
01:18:42,320 --> 01:18:45,599
Speaker 3: do not find a way to best the villain of

1473
01:18:45,640 --> 01:18:48,680
Speaker 3: their own accord. They have to be rescued by the authorities.

1474
01:18:49,840 --> 01:18:53,479
Speaker 3: I don't know why. I wonder if audiences in the

1475
01:18:53,520 --> 01:18:57,799
Speaker 3: fifties found that as unsatisfying as I think most people

1476
01:18:57,840 --> 01:19:00,559
Speaker 3: probably would today or for the time it's just like,

1477
01:19:00,640 --> 01:19:04,400
Speaker 3: oh okay, yeah, good, you know, the police saved the day.

1478
01:19:03,400 --> 01:19:07,559
Speaker 3: It like it robs us of a certain kind of

1479
01:19:08,040 --> 01:19:12,000
Speaker 3: resolution to the dynamic between the characters. If you don't

1480
01:19:12,040 --> 01:19:16,280
Speaker 3: see a way for the good characters to save themselves.

1481
01:19:16,320 --> 01:19:18,960
Speaker 3: They just you know, diosx macin it basically.

1482
01:19:19,120 --> 01:19:22,040
Speaker 2: Yeah, yeah, I mean it's it's basically like Tarantula, where

1483
01:19:22,120 --> 01:19:24,880
Speaker 2: all right, Collin Clint Eastwood in a jet fighter, a

1484
01:19:25,000 --> 01:19:27,000
Speaker 2: character that we haven't seen before is going to save

1485
01:19:27,040 --> 01:19:28,920
Speaker 2: the day by blowing up the giant spider.

1486
01:19:29,200 --> 01:19:31,759
Speaker 3: I mean, I guess it's not quite a day sex Macinet,

1487
01:19:31,760 --> 01:19:34,200
Speaker 3: to be fair, because we have seen the police investigating

1488
01:19:34,280 --> 01:19:36,479
Speaker 3: up to this point, so like there's a plot line

1489
01:19:37,120 --> 01:19:39,960
Speaker 3: of them figuring out what's going on and getting there

1490
01:19:40,840 --> 01:19:42,680
Speaker 3: to that moment so that they don't show up from

1491
01:19:42,720 --> 01:19:44,960
Speaker 3: out of nowhere. But we're not really invested in the

1492
01:19:45,000 --> 01:19:47,720
Speaker 3: police characters, so I don't know, it's just it's just

1493
01:19:47,800 --> 01:19:50,360
Speaker 3: not quite the same as it would be if Sue

1494
01:19:50,479 --> 01:19:52,479
Speaker 3: or Scott themselves figured out a way.

1495
01:19:52,360 --> 01:19:55,040
Speaker 2: Out of this. I guess it's ultimately in the grander

1496
01:19:55,240 --> 01:19:59,040
Speaker 2: cinematic tradition. It's it's great to have that trope though,

1497
01:19:59,120 --> 01:20:02,400
Speaker 2: because when that trop is later subverted in films, it

1498
01:20:02,439 --> 01:20:05,720
Speaker 2: can be especially delightful and mean, with one of the

1499
01:20:05,760 --> 01:20:10,080
Speaker 2: prime examples, of course, being like Hitchcock's Psycho, where the

1500
01:20:10,120 --> 01:20:15,320
Speaker 2: picture lets you know clearly that the you know, whatever

1501
01:20:15,400 --> 01:20:17,760
Speaker 2: rescue you thought was gonna come is is maybe not

1502
01:20:17,840 --> 01:20:21,360
Speaker 2: going to work after all. So when when police intervention

1503
01:20:21,560 --> 01:20:26,320
Speaker 2: fails in later pictures, it maybe it hits a little harder.

1504
01:20:26,360 --> 01:20:26,760
Speaker 2: I don't know.

1505
01:20:27,120 --> 01:20:29,559
Speaker 3: There's a really good twist that inverts that in Silence

1506
01:20:29,560 --> 01:20:33,960
Speaker 3: of the Lambs. Oh yeah, yeah, yeah, like where you

1507
01:20:34,040 --> 01:20:37,040
Speaker 3: think the cops are showing up to conclude the plot,

1508
01:20:37,080 --> 01:20:39,479
Speaker 3: but in fact the heroine is on her own.

1509
01:20:39,840 --> 01:20:41,759
Speaker 2: Right, Yeah, they're they're hitting the wrong house.

1510
01:20:41,840 --> 01:20:45,640
Speaker 3: Yeah, but anyway, authority saving the day aside. It is

1511
01:20:45,680 --> 01:20:47,840
Speaker 3: a really tense ending and I think it works great

1512
01:20:47,840 --> 01:20:48,920
Speaker 3: for the most part, and.

1513
01:20:48,880 --> 01:20:50,840
Speaker 2: There's a lot more grappler like when they when they

1514
01:20:51,640 --> 01:20:55,800
Speaker 2: when they arrest Igor, he's about to suplex a cop.

1515
01:20:56,200 --> 01:20:57,840
Speaker 2: And then I don't know if you noticed, but when

1516
01:20:58,080 --> 01:21:01,360
Speaker 2: Vincent Price's character is fighting off the authorities, at one

1517
01:21:01,400 --> 01:21:04,120
Speaker 2: point he like picks a dude up like he's gonna

1518
01:21:04,520 --> 01:21:07,400
Speaker 2: throw him into the wax. And of course we know

1519
01:21:07,439 --> 01:21:08,360
Speaker 2: who's going in that.

1520
01:21:08,280 --> 01:21:11,000
Speaker 3: Wax, right, I mean, it's the end you know is coming.

1521
01:21:11,160 --> 01:21:13,960
Speaker 3: It's it's kind of like it's Chekhov's gun. If there's

1522
01:21:14,000 --> 01:21:16,840
Speaker 3: gun on the mantlepiece, it will probably be fired. If

1523
01:21:16,880 --> 01:21:20,400
Speaker 3: there is a what would you call it, an open topped,

1524
01:21:20,600 --> 01:21:24,599
Speaker 3: large container of some kind of deadly liquid, whether that's

1525
01:21:24,640 --> 01:21:29,000
Speaker 3: a pool with piranhas in it or boiling acid or

1526
01:21:29,200 --> 01:21:32,040
Speaker 3: boiling wax, the villain has got to fall in.

1527
01:21:32,000 --> 01:21:34,640
Speaker 2: It, exactly. I mean, that's what it's there for. We

1528
01:21:34,720 --> 01:21:37,200
Speaker 2: want that spectacle even if there's and in this case,

1529
01:21:37,479 --> 01:21:40,800
Speaker 2: there's nothing really gory afterwards, Like you don't see a

1530
01:21:40,840 --> 01:21:44,559
Speaker 2: skeleton rising to the surface or anything like that. We

1531
01:21:44,600 --> 01:21:49,719
Speaker 2: don't see a wax cocooned vincent price, you know, falling

1532
01:21:49,720 --> 01:21:52,840
Speaker 2: onto the floor or anything. But just the spectacle of him,

1533
01:21:53,200 --> 01:21:56,080
Speaker 2: of somebody landing in that stuff is enough.

1534
01:21:56,320 --> 01:21:58,600
Speaker 3: Yeah, that's not the stinger at the end. Instead, the

1535
01:21:58,960 --> 01:22:02,000
Speaker 3: epilogue is just them at the police station with Sue

1536
01:22:02,000 --> 01:22:04,160
Speaker 3: being like, thank you for putting your coat over my

1537
01:22:04,240 --> 01:22:04,960
Speaker 3: naked body.

1538
01:22:05,040 --> 01:22:05,599
Speaker 2: The end.

1539
01:22:06,360 --> 01:22:12,280
Speaker 3: Yeah, that was a strange comment to end on, but yeah, yeah.

1540
01:22:12,080 --> 01:22:15,080
Speaker 2: But they got to send the folks home happy. You know,

1541
01:22:15,520 --> 01:22:18,640
Speaker 2: the whole family came out about the whole family. But

1542
01:22:18,680 --> 01:22:21,559
Speaker 2: at least people made the effort to come to the

1543
01:22:21,560 --> 01:22:26,000
Speaker 2: big theater, to get the big theater experience with all

1544
01:22:26,000 --> 01:22:30,840
Speaker 2: this wonderful sound, three D effects. They need to go

1545
01:22:30,920 --> 01:22:33,280
Speaker 2: home happy, so they'll come back next time and watch

1546
01:22:33,320 --> 01:22:35,880
Speaker 2: more three D Warner Brothers pictures.

1547
01:22:36,200 --> 01:22:39,000
Speaker 3: Yeah, if they ever re released this again in three D,

1548
01:22:39,080 --> 01:22:41,479
Speaker 3: I would absolutely go to a theater to watch it

1549
01:22:41,520 --> 01:22:43,240
Speaker 3: in three D. I think that would be a blast.

1550
01:22:43,520 --> 01:22:48,160
Speaker 2: Absolutely. Yeah. Yeah. I really left this movie and the

1551
01:22:48,200 --> 01:22:52,160
Speaker 2: research wanting to have the really for the first time

1552
01:22:52,960 --> 01:22:56,439
Speaker 2: perhaps ever, really wanting to have a proper three D

1553
01:22:56,680 --> 01:23:01,000
Speaker 2: cinema experience with whatever technol I can get them get

1554
01:23:01,000 --> 01:23:03,280
Speaker 2: my hands on, so that the next time there's like

1555
01:23:03,320 --> 01:23:05,559
Speaker 2: a strong I would I mean, obviously I would love

1556
01:23:05,600 --> 01:23:07,920
Speaker 2: to see like this picture re released in modern three

1557
01:23:08,000 --> 01:23:10,800
Speaker 2: D or or some form of three D in the theater.

1558
01:23:10,880 --> 01:23:13,519
Speaker 2: But I'll settle for anything at this point, almost anything.

1559
01:23:14,640 --> 01:23:16,960
Speaker 3: All Right, Does that do it for House of Wax?

1560
01:23:17,720 --> 01:23:20,040
Speaker 2: I believe that will. We'll go ahead and seal off

1561
01:23:20,120 --> 01:23:23,439
Speaker 2: the wax canister on this one, but we'll be back

1562
01:23:23,479 --> 01:23:26,479
Speaker 2: next week with one more three D picture. What'll it be?

1563
01:23:26,600 --> 01:23:28,519
Speaker 2: I don't know. We're still looking around at things. I've

1564
01:23:28,520 --> 01:23:33,040
Speaker 2: got another disc to check out here, so tune in

1565
01:23:33,120 --> 01:23:36,200
Speaker 2: and find out. In the meantime, if you want to

1566
01:23:36,200 --> 01:23:39,320
Speaker 2: hear more weird house cinema, well, we put this out

1567
01:23:39,400 --> 01:23:42,040
Speaker 2: every Friday and the Stuff to Blow Your Mind podcast feed.

1568
01:23:42,040 --> 01:23:44,479
Speaker 2: We're primarily a science podcast, but on Fridays we set

1569
01:23:44,520 --> 01:23:48,320
Speaker 2: aside most serious concerns to just talk about a weird film.

1570
01:23:48,600 --> 01:23:50,200
Speaker 2: If you want to see a complete list of the

1571
01:23:50,240 --> 01:23:52,280
Speaker 2: films that we've covered on the show, we can go

1572
01:23:52,320 --> 01:23:54,160
Speaker 2: to letterbox dot com as L E T T E

1573
01:23:54,320 --> 01:23:56,599
Speaker 2: R B O x D. We have a user account

1574
01:23:56,600 --> 01:23:59,599
Speaker 2: there called weird House, and on that account you'll find

1575
01:23:59,640 --> 01:24:03,000
Speaker 2: a list in order all the films we've covered. It's

1576
01:24:03,000 --> 01:24:03,920
Speaker 2: pretty fun to check.

1577
01:24:03,800 --> 01:24:07,760
Speaker 3: Out huge thanks to our audio producer JJ Posway. If

1578
01:24:07,800 --> 01:24:09,400
Speaker 3: you would like to get in touch with us with

1579
01:24:09,520 --> 01:24:12,120
Speaker 3: feedback on this episode or any other, to suggest a

1580
01:24:12,160 --> 01:24:14,360
Speaker 3: topic for the future, or just to say hello, you

1581
01:24:14,360 --> 01:24:17,120
Speaker 3: can email us at contact at stuff to Blow your

1582
01:24:17,200 --> 01:24:24,720
Speaker 3: Mind dot com.

1583
01:24:24,840 --> 01:24:27,800
Speaker 1: Stuff to Blow Your Mind is production of iHeartRadio. For

1584
01:24:27,880 --> 01:24:30,679
Speaker 1: more podcasts from my Heart Radio, visit the iHeartRadio app,

1585
01:24:30,840 --> 01:24:34,040
Speaker 1: Apple Podcasts, or wherever you listen to your favorite shows.