Archive for House of Wax

Hosed

Posted in FILM, Politics with tags , , , , , , , , , on April 28, 2015 by dcairns

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I saw a bit of this film once playing on a TV in a bar in the mid-afternoon, and I was amazed. Had no idea what it was, though I recognized Jack Hawkins and was surprised to see him dressed as a Nazi. But I was FAR more surprised by what happened next…

This piece might need a trigger warning if you’ve ever been inflated to bursting point with a fire hose. In fact, if that has happened to you, don’t read that last sentence.

Eventually I worked out that the film was Andre De Toth’s THE TWO-HEADED SPY (1958), and even eventuallier I watched it.Hawkins plays a double agent, General Alex Scotland, installed on Hitler’s staff and sabotaging his supply lines to help end the war. The scene I had goggled at occurs when Felix Aylmer, Hawkins’ contact with the allies, is arrested by nasty Nazi Alexander Knox, and tortured.

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There’s the whipping, of course — rather more of it than we’re used to seeing in a film of this kind. But then Knox gets carried away and —

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In the words of Edward Gorey, “there was a wet sort of explosion, audible for several miles.”

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Yes. De Toth has just killed a character by having him anally penetrated with a fire hose, and then inflated until bursting point. You can see why I was surprised at seeing this on Channel 4 in the middle of the afternoon.

Of course, De Toth was a tough old nut. He broke his neck twice (once may be considered bad luck…), he lost an eye (nobody seems to know where), he worked as a second unit director for David Lean and a producer for Ken Russell. Nobody’s idea of a pushover. And he once tried, basically, to decapitate his leading man with a guillotine while making HOUSE OF WAX. But this is still an astonishingly horrible and grotesque scene. How it got past the censors in days when you couldn’t even show a toilet in an American movie is beyond me.

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“Well, it was worth a try, right?”

The film is apparently based on the memories of General Alex Scotland, but the facts seem extremely murky. Elsewhere, Scotland more or less denied ever having been on the German side during the war — he was certainly running an interrogation centre near London for captured Germans during the latter years of the conflict, not in the bunker with Adolf as shown here. Intriguingly and grimly, that centre was rumoured to be a hotbed of torture, leaving open the suspicion that the methods depicted may have been deployed for real, but by our side. In his Wikipedia page, Scotland is quoted as saying that high command asked him deliberately NOT to scotch false rumours about his being planted in Nazi Germany, for reasons he was never apprised of. I think it’s likelier that he was simply trying to make a profit from his war service any way he could, especially after the government tried to stop him publishing his memoirs under the Official Secrets Act.

The film isn’t one of De Toth’s best. Gia Scala is wheeled in as romantic interest, but Hawkins isn’t allowed to have close relationships with any of the people he’s betraying, which makes him a rather isolated, distant figure. Characters mostly thrive on relationships, and he has none.

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Hitler is always kept just off-screen, at one point occluded by a large globe, in an amusing nod to Chaplin. He’s played with Welsh fervour by Kenneth Griffith, which would have been hilarious if we’d gotten to see him. Most enjoyable actor is Donald Pleasence, who portrays his high-ranked Nazi big shit shot’s nervous strain by having him puff continuously at a cigarette kept one inch from his lips at all times. Had Pleasence ever had a chance to observe Fritz Lang’s smoking technique? The resemblance is uncanny.

Primate Suspect

Posted in FILM, literature, Science with tags , , , , , , , , , , , on July 13, 2012 by dcairns

So, back to my demented quest to see every film depicted in Denis Gifford’s monster bible, A Pictorial History of Horror Movies, and this time it was Roy Del Ruth’s Poe adaptation PHANTOM OF THE RUE MORGUE which passed before my eyeballs, albeit flat rather than in its original 3D. As long as we’re talking about re-releasing Hitchcock’s DIAL M and De Toth’s HOUSE OF WAX in 3D versions, I’d put a vote in for this baby. The 3D gags looked amusing flat, but there were a few things like a shower of gaily-hued Warnercolor balloons that suggested a little more than the usual “poke-em-in-the-eye-with-a-sharp-stick” approach to immersive entertainment.

We begin with some smudgy Parisian rooftops, a perfect match for the gorgeous 2-strip settings of Warners’ 30s horrors DR X and MYSTERY OF THE WAX MUSEUM. Throughout, the colour schemes of this film alternate giddily between such subdued, marshy tones, and eye-popping bubble-gum effects more consistent with a musical.

While the aging Del Ruth has lost his handle on a particular kind of gutsy performance style that saw him through the pre-code era (though we can see that misfire spectacularly on his attempt at THE MALTESE FALCON/DANGEROUS FEMALE), he has a comic book sensibility that’s always fun. The zanier moments of this flick, which defy plausibility quite openly and plummet into an inter-stool area of conflicted response (creepy/perverse/amusing/embarrassing) harken back to the director’s days as a gagman at Keystone, particularly this revealing clue —

For a thoroughly daft film (pair it with RDR’s ALLIGATOR PEOPLE but don’t blame me if you laugh yourself through the floor) this boasts some distinguished writing talent — Harold Medford helped script THE DAMNED DON’T CRY and THE KILLER IS LOOSE, and James R. Webb did even better with CAPE FEAR, CHEYENNE AUTUMN and VERA CRUZ. Neither seems to have had a particular affinity for horror films, but they reconfigure Dupin’s detective feats into a new-ish plot which eschews Universal’s Dr Mirakle bestiality shenanigans but gets into some surprising areas — physiognomy and Lombroso, behaviourism and Pavlov, primate communication and psychopathology. Much of this stuff was fairly new to movies, and certainly pretty exotic: research has clearly been done, even if it’s all filtered through the Hollywood screenwriters’ patented bullshittifier.

At the root of it all, as is obvious from the start, is Karl Malden (a man with a face built for 3D) and his pet gorilla, Sultan, the two best actors in the film. Malden suavely walks a tightrope between fanatical, method-y commitment and unavoidable contempt for the material, and Charles Gemora as Sultan turns in a compelling physical performance (reprising his role from the original Universal MURDERS IN THE RM.

The gorilla suit is obviously just that, even if it’s well made, but this ape does have a few more character nuances than most men in suits. There’s also Claude Dauphin, the only Frenchman with a French accent in the film, who’s pretty enjoyable as the worst detective you’ll ever see, and the lovely Patricia Medina (who just died in May) who doesn’t have enough of a part to properly register, alas. Fat credit, thin character.

In the words of Godard, “It’s not blood, it’s red.” Literally, in this case.

I thought this was going to be terrible but we had a blast with it. “I *loved* that!” declared Fiona.

Safe

Posted in FILM with tags , on April 2, 2011 by dcairns

Yes! This blog is brought to you on 100% safe, non-flammable, approved Kodascope safety film. An enclosing booth is not required. No longer need you read film blogs encased in a soundproof, flameproof, radiation-proof enclosing booth. The makers of Shadowplay guarantee that their product will NOT, at an instant, burst into flames and leave you unconvincingly disfigured like that man in MYSTERY OF THE WAX MUSEUM or that other, similar man in HOUSE OF WAX.

We doubt the competition can make similar claims.

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