Tag Archives: Vincent Price


DIRECTED BY: Robert Fuest

FEATURING: Vincent Price, Robert Quarry, Peter Jeffrey, , Valli Kemp, Hugh Griffith

PLOT: Dr. Phibes rises from suspended animation and travels to Egypt seeking waters of immortality to resurrect his beloved wife; but another man seeks the waters as well, and Scotland Yard is once again on Phibes’ trail.

Still from Dr. Phibes Rises Again (1972)
WHY IT WON’T MAKE THE LIST: The original was just weird enough to make it a candidate for the List, but this nearly redundant sequel adds nothing new that would justify considering giving it its own separate spot.

COMMENTS: If you liked the original The Abominable Dr. Phibes, Rises Again tries hard to give you more of the same—campy black comedy mixed with bizarre characters, sets and (now gorier) murders—except this time there’s no logic or sense in the script whatsoever.  All the beloved characters are back, including all the ones that died in the first movie.  Mysterious silent assistant Vulnavia (played by a new actress, Australian beauty queen Valli Kemp) returns from the original, as do the clockwork musicians (Phibes packs them up in a steamer and ships them to Egypt with him). The sets and art design echo the original, with an Egyptian slant replacing the Art Deco look; there are some fun new sights like Price dressed as a sheik and an octagonal mirrored hallway. The half-serious campy tone from the first effort carries over, as does the black humor (watch as Phibes drinks champagne and eats fish through a hole in the back of his neck at a picnic with Vulnavia). A very few things have changed.  Whereas Phibes was nearly silent in the first film, speaking rarely and painfully through audio cables that ran from his neck to a gramophone horn, once he Rises Again you can’t shut him up.  For this outing he brought along an extra-long audio cable so he can wander about the sets, cursing all who would dare oppose them and plotting their fiendish demise without being limited to a five-foot radius around the phonograph.  (He often speaks without a hookup at all; maybe we’re just privy to his inner monologues).  And three years in suspended animation has sharpened his supervillain abilities: whereas in the first film, the Abominable doctor spent years plotting elaborate fetishistic schemes to kill his enemies based around Biblical plagues, now whenever he needs to he can simply whip up a spiked scorpion chair filled with creepy crawlies out of spit, bailing wire and whatever odds and ends he has lying around his pyramid.  In the sequel, Phibes is pitted against another villain (a megalomaniac Robert Quarry, who makes it clear he doesn’t appreciate the inconvenience when the doctor keeps killing off his henchmen) rather than against the forces of law and order: Inspector Trout and his Scotland Yard superintendent are relegated to comic relief (they hesitate searching Phibes’ pyramid because they don’t have a warrant). So this time out we’re explicitly encouraged to root for Vincent Price (not that we wouldn’t anyway, but the lack of noble opponent makes it easier to get on his side).  As mentioned before, the deaths are more gruesome in this sequel; the scene where Phibes’ pet falcon eats an interloper, pulling wads of flesh off his bloody corpse and swallowing them, pushes the limits of the movie’s PG rating.  Lack of a sensible script aside, Fuest does a good job of giving Phibes fans more of what they loved about Abominable, but the one thing he can’t reproduce is the original’s originality.

Due to bungled rights issues, TV broadcasts and the original home video releases of Dr. Phibes Rises Again did not include Price’s rendition of “Somewhere Over the Rainbow,” replacing the sound in that key scene with generic instrumental film cues. MGM’s latest DVD releases (sold in a single disc edition, as a double feature with Abominable, and as part of a seven-movie Vincent Price box set) restore the soundtrack of the original.


“Vincent Price usually came across as barking mad at the best of times, but add a daft wig, the inability to talk and some truly weird costumes, and you are taken into Salvador Dali territory by this performance…  If you saw it a while ago and tend to think of it as a gaudy example of psychedelic kitsch, it’s time for a major re-evaluation.”–Chris Wood, BritishHorrorFilms.com (DVD)




FEATURING: Vincent Price

PLOT: A seven year old boy wishes he could be just like the Vincent Price he sees in old movies.

Still from Vincent (1982)

WHAT MAKES IT WEIRD:  It’s not quite weird; more mildly macabre.  But it sure is cool.

COMMENTSVincent is a 5 minute poem, narrated by the mellifluous Vincent Price, about a morbid boy (also named Vincent) obsessed with emulating the horror icon’s tormented screen persona.  It’s told in a singsong, storybook cadence and given a superlative reading by Price (who was so flattered by the tribute that he proclaimed it a greater honor than a star on Hollywood Boulevard).  There are some specific references to Price’s work for the actor’s fans, though the short prefers to evoke their general atmosphere than to cite specific movies. Young Vincent’s daydreams involve dipping his aunt in wax, turning his dog into a zombie, and slowly being driven mad by his guilt over his unspeakable crimes.  A representative stanza: “Such horrible news he could not survive/For his beautiful wife had been buried alive!/He dug out her grave to make sure she was dead/Unaware that her grave was his mother’s flower bed.”  Vincent is visually impressive, deliberately shot in luminous black and white and drawing on the gloomy Gothic style of the old Universal horror movies with a powerful dose of German Expressionism.  (Burton denied being directly influenced by The Cabinet of Dr. Caligari, but he’s the only one who doesn’t notice the similarity to the silent psychological horror classic in the geometrically warped sets).  The look and childishly ghastly tone bring to mind a lighter version of the macabre black and white lithographs of Edward Gorey (who once created a primer where each letter illustrates the death of a tot).  Burton’s visual sensibility is already fully formed here, and the elements of his classic style—his comic, cathartic synthesis of fresh childhood innocence and the must of the grave—are already in evidence.  In fact, there may be no better example in the director’s entire body of work of than this crisp five minute exhibition of his talent for mixing the chuckle with the shudder.

Disney has traditionally made Vincent and Burton’s other pre-fame short Frankenweenie as extras on all their editions of The Nightmare Before Christmas.  The film is also included on the anthology Cinema 16: American Short Films (buy) alongside  Maya Deren‘s “Meshes of the Afternoon” and works by Andy Warhol, Todd Solondz and Gus Van Sant, among others.


“…a pastiche of styles lifted from the writings of Dr. Seuss and Edgar Allen Poe, and a range of movies from B-horror films, German expressionist works and the films of Vincent Price.”–Michael Frierson, Animation World Magazine (DVD)

[(This movie was nominated for review by reader “Maxwell Stewart.” Suggest a weird movie of your own here.)]


The Abominable Dr. Phibes has been promoted onto the List of the 366 Weirdest Movies ever made. Please visit the official Certified Weird entry.


DIRECTED BY: Robert Fuest

FEATURING: Vincent Price, Peter Jeffrey, Virginia North, , , photographs of Caroline Munro

PLOT:  Dr. Phibes, a mysterious, organ playing supervillain, kills off doctors in bizarre and ritualistic ways as Scotland Yard races to find the pattern to the crimes and the identity of the killer.

The Abominable Dr. Phibes (1971)

WHY IT’S ON THE BORDERLINE:  Dr. Phibes, the supervillain, is pretty damn weird, from his obsession with acting out 1920s torch songs to the audio jack in his neck that he connects to a phonograph when he wants to speak.  Dr. Phibes, the movie, is somewhat weird, though less so than its central character. Doubtlessly, the proper but incompetent Brits who are perpetually one step behind the bad doctor would term the goings-on here “decidedly odd.”  We’re not sold that Dr. Phibes is weird enough to make the List on a first pass, but we’re not comfortable writing it off, either, so it will sit in the Borderline category.

COMMENTS: The first scene of Dr. Phibes wisely spotlights the film’s keynote set and admirably sets a tone of ghoulish whimsy.  Organ music swells as the camera travels up a marble staircase until it reaches an odd atrium.  In the center sits an organ with a fan of pipes glowing with subtly garish yellows, pinks and reds.  Flanking this centerpiece are trees with stuffed birds of prey perched on their dead limbs.  At the organ sits the hunched, hooded figure of a man, who sways as if possessed and theatrically throws up his arms during  random passages as he plays.  After the opening credits fade a longshot reveals there is more to this room: there’s a clockwork band of automatons in tuxedos.  The hooded figure finishes his dirge, steps away, winds a crank and begins conducting the stiff figures as they belt out an impossibly lush big band ballad.  On a balcony above a door opens and out steps a beautiful brunette, Continue reading BORDERLINE WEIRD: THE ABOMINABLE DR. PHIBES (1971)