House of Wax (1953) – Review

Horror remakes are always a mixed bag but one of the early examples of this being done well is in the 1953 remake of The Mystery of the Wax Museum – which starred Lionel Atwill and Glenda Farrell back in 1933 – but this one not only stars the legendary Vincent Price it was also an excellent entry in the 1950s 3D boom.

This remake follows the basic plot of 1933’s The Mystery of the Museum with but a few changes. It is set in 1890s New York City – opposed to the original which took place in contemporary times – and this is where find talented sculptor Professor Henry Jarrod (Vincent Price) running a wax museum. Jarrod is deeply passionate about his work, creating lifelike wax figures of historical figures such as Marie Antoinette and Joan of Arc. He works with his partner, Matthew Burke (Roy Roberts), who is more interested in making a profit than in Jarrod’s artistic endeavours. Burke, frustrated with the museum’s lack of profitability, proposes burning down the museum for the insurance money. Jarrod vehemently refuses, valuing his creations too much. Unbeknownst to Jarrod, Burke sets the museum on fire, resulting in a dramatic and destructive inferno. Jarrod tries desperately to save his figures but is overpowered by Burke. He is left for dead in the blaze as the entire museum is reduced to ashes.

This is one way to dissolve a partnership.

Needless to say, Jarrod had survived the fire but he was severely disfigured and crippled, his hands rendered useless for sculpting. Months later, Jarrod reopens a new House of Wax, focusing on macabre and sensational exhibits, much to the delight of his new business partner, Sidney Wallace (Paul Cavanagh). Jarrod now creates his figures with the help of assistants, including the mysterious and intimidating Igor (Charles Bronson) and a heroin addict Carl Hendricks alias Leon Averill (Nedrick Young). Concurrently, a series of strange murders begin to occur in the city. A disfigured man in a cloak strangles Burke and stages the murder as an act of suicide, and a few weeks later the same man murders Burke’s fiancée, Cathy Gray (Carolyn Jones). The mysterious cloaked figure steals her corpse from the morgue, but later, her unemployed roommate, Sue Allen (Phyllis Kirk), notices a striking resemblance between the wax figure of Joan of Arc and her recently murdered roommate.

“Is this how you skip out on rent?”

Despite the disbelief of those around her, including her clueless boyfriend Scott Andrews (Paul Picerni), Sue’s suspicions lead her to investigate further and she discovers that Jarrod has been using corpses to create his wax figures, covering them with wax to preserve their lifelike appearance. Jarrod’s injuries from the fire left him unable to sculpt, so he resorted to this macabre method to continue his work. Sue is eventually captured by Jarrod, who reveals his plan to turn her into his new Marie Antoinette. In a dramatic final confrontation in the wax museum, Jarrod’s secret is unveiled. During the struggle, Sue manages to strike Jarrod, causing his wax mask to break and reveal his disfigured face underneath.

Horror Tip #1: Never confront the villain while alone with him.

Stray Observations:

• The one major change from the original is that the heroine is no longer a journalist investigating the series of murders but is more in keeping with your standard damsel in distress.
• One of the 3D gimmicks consists of a paddle ball-playing barker used to attract customers to the wax museum, but the actual product was not invented until the 1920s after soft rubber was first produced.
• One of the wax museum exhibits features French serial killer Henri Landru but Landru was arrested for murder in 1919, many years after the setting of this film.
• Carolyn Jones would later become immortalized as Lily Munster in the classic television show The Munsters.
• Vincent Price may not have been a horror icon at this point but he did have a voice cameo as the Invisible Man in Abbott and Costello Meet Frankenstein (1948).
• Like in the original The Mystery of the Wax Museum, Jarrod’s mask is made of a hard plastic that is too hard and inflexible to pass for a real face.

This is the problem with being too faithful to the original.

It’s hard to believe that before this film Vincent Price was simply a very talented character actor, appearing in such films as Otto Preminger’s Laura and as Cardinal Richelieu in the 1948 version of The Three Musketeers, it was this film that kicked off his career as a horror icon. Watching this film it’s not hard to imagine why as Price is at his devilishly best here, delivering a performance that is both sympathetic and chilling. His portrayal of Jarrod is layered, evoking both pity and terror as he descends into madness. Vincent Price’s ability to balance charm and menace is on full display, making his character one of the most memorable in horror cinema.

“This is how you get ahead in business.”

The film’s use of 3D technology was groundbreaking at the time, and it’s fascinating to see how it enhances the experience even today. Director André De Toth, who was famously blind in one eye and couldn’t experience 3D himself, crafts scenes that take full advantage of the format, with eerie wax figures seemingly reaching out to the audience and thrilling action sequences that pop off the screen. The art direction and set design deserve a standing ovation. The wax museum itself is a character, with its hauntingly lifelike figures and shadowy corridors. The attention to detail in recreating historical scenes in wax adds a layer of authenticity and fascination, making the museum both a place of wonder and horror.

Wax museum or mad scientist lair, you be the judge.

The film’s climax is a masterclass in suspense and horror, with a thrilling chase through the wax museum that culminates in a fiery showdown. It’s a satisfying and explosive conclusion that perfectly ties together the film’s themes of obsession, revenge, and artistry. However, as nice as those 3D effects are they are more distracting than effective and underdeveloped supporting characters prevent the film from achieving true greatness as many of the performers tended to drift into the melodramatic. While it’s certainly a film that horror aficionados should experience, it may not hold the same appeal for contemporary viewers seeking a more sophisticated or genuinely frightening experience.

“See? I am the world’s first fully functioning homicidal artist.”

Overall, House of Wax is a must-watch for fans of classic horror and Vincent Price aficionados because his performance as the homicidal artist is in early glimpse of things to come. It’s also a film that revels in its Gothic roots while pushing the boundaries of its time with innovative technology and compelling storytelling. Whether you’re watching it in 3D or regular format, this is one wax museum visit you won’t soon forget.