The Abominable Dr. Phibes/Dr. Phibes Rises Again
Blu ray
Kino Lorber
1971, 1972 / 1.85 : 1 / 94, 89 Min.
Starring Vincent Price, Joseph Cotten, Terry Thomas
Written by James Whiton, William Goldstein, Robert Blees
Directed by Robert Fuest
Though he thrived in light comedies and upmarket melodramas, Vincent Price didn’t really find himself till he found Henry Jarrod, the high strung sculptor-turned psychopath in 1953’s House of Wax. The role reinvented the Jekyll/Hyde story and gave Price the key to his long-lasting persona; the well-mannered fiend and the unhinged romantic merged into one tormented soul. Ticket buyers were both moved and terrified by Jarrod and the box office receipts reflected their fascination. Price was happy to dish up more of the same and though he would occasionally play no nonsense villains like the unambiguously evil Matthew Hopkins of 1968’s Witchfinder General, the actor rarely strayed too far from his comfort zone.
There was...
Blu ray
Kino Lorber
1971, 1972 / 1.85 : 1 / 94, 89 Min.
Starring Vincent Price, Joseph Cotten, Terry Thomas
Written by James Whiton, William Goldstein, Robert Blees
Directed by Robert Fuest
Though he thrived in light comedies and upmarket melodramas, Vincent Price didn’t really find himself till he found Henry Jarrod, the high strung sculptor-turned psychopath in 1953’s House of Wax. The role reinvented the Jekyll/Hyde story and gave Price the key to his long-lasting persona; the well-mannered fiend and the unhinged romantic merged into one tormented soul. Ticket buyers were both moved and terrified by Jarrod and the box office receipts reflected their fascination. Price was happy to dish up more of the same and though he would occasionally play no nonsense villains like the unambiguously evil Matthew Hopkins of 1968’s Witchfinder General, the actor rarely strayed too far from his comfort zone.
There was...
- 5/3/2022
- by Charlie Largent
- Trailers from Hell
With Vincent Price, it’s all about the dance; the way his voice dips and swoons regardless of partner, the wave of his hand signaling the start of a new song. A little dramatic and florid, yes; but an artist of his stature deserves all the sweeping fanfare bestowed upon him; and nothing makes me want to strike up the band more than The Abominable Dr. Phibes (1971), a gorgeously demented waltz for the ages.
Produced and released by American International Pictures stateside in May, Phibes was a big hit with critics and audiences alike; and really, what was not to love? Wickedly funny and ghoulish, people were ready to be in on the joke like Price had been all along.
A black cloaked figure sits at a pipe organ, in an ornate mansion with marble floors surrounded by life size automated band members dubbed Dr. Phibes’ Clockwork Wizards. The figure...
Produced and released by American International Pictures stateside in May, Phibes was a big hit with critics and audiences alike; and really, what was not to love? Wickedly funny and ghoulish, people were ready to be in on the joke like Price had been all along.
A black cloaked figure sits at a pipe organ, in an ornate mansion with marble floors surrounded by life size automated band members dubbed Dr. Phibes’ Clockwork Wizards. The figure...
- 6/30/2018
- by Scott Drebit
- DailyDead
The pomp and circumstance of Felix Mendelssohn’s “War March of the Priests,” as played on a grand pipe organ by a hooded figure seated in an opulent ballroom during the opening credits of The Abominable Dr. Phibes (1971), perfectly sets the tone and timbre of director Robert Fuest’s film, both with playful irreverence and an eloquently ominous aural shroud of dread. The events we’re about to see play out in the film will hardly be a righteous procession of missionary or military zeal, as Mendelssohn’s music was originally intended to evoke. Instead, as it rings and bellows forth from the ornate instrument in this eerie chamber, one which feels at once haunted and strangely festive, Mendelssohn’s fervor is immediately cast with the unmistakable sense of having been drawn forth from someplace much darker than one of heavenly inspiration.
The organ itself rises from the bowels of...
The organ itself rises from the bowels of...
- 4/23/2017
- by Dennis Cozzalio
- Trailers from Hell
When I was a kid, I used to love a scary movie. I remember catching the original The Haunting (1963) one night on Channel 9’s Million Dollar Movie when I was home alone. Before it was over, I had every light in the house on. When my mother got home she was screaming she’d been able to see the house glowing from two blocks away. The only thing screaming louder than her was the electricity meter.
That was something of an accomplishment, scaring me like that. Oh, it’s not that I was hard to scare (I still don’t like going down into a dark cellar). But, in those days, the movies didn’t have much to scare you with. Back as far as the 50s, you might find your odd dismemberment and impaling, even an occasional decapitation, but, generally, the rule of the day was restraint. Even those rare dismemberments,...
That was something of an accomplishment, scaring me like that. Oh, it’s not that I was hard to scare (I still don’t like going down into a dark cellar). But, in those days, the movies didn’t have much to scare you with. Back as far as the 50s, you might find your odd dismemberment and impaling, even an occasional decapitation, but, generally, the rule of the day was restraint. Even those rare dismemberments,...
- 10/6/2015
- by Bill Mesce
- SoundOnSight
The first Vincent Price collection from Scream Factory was a pure treasure. When October rolls around, almost nothing puts me in the Halloween mood like a constant stream of Vincent Price films on my TV. Never did I think that Scream could improve upon their original price collection, but when the films that would be included in this new set were announced, I was shocked. The first Vincent Price Collection has some really solid Price films, mostly of a Poe nature, and it was one of the most exciting releases of the year for fans of classic horror. The second set, drops the Poe theme(mostly), and includes some of Price’s most famous, well-regarded films, including a couple of my favorites. The list of films is impressive, and there are extras on most of the films. The packaging is consistent, and equally pleasing to the eyes. Scream Factory’s...
- 10/21/2014
- by Shawn Savage
- The Liberal Dead
The first Vincent Price collection that was released by Scream Factory is a thing of beauty. It was announced recently that they would bringing us a second collection of Vincent Price films on Blu-ray, and I couldn’t be any more excited about it than I already am. Well, maybe I can be, because Scream Factory just released the full details of the set, and it’s going to be a good one. Check out the press release below, and please click here to pre-order your own copy of this collection, which streets on October 21. Man, October is really upon us, isn’t it?
The Vincent Price Collection II
Featuring The First-ever Blu-ray™ Presentation Of
The House On Haunted Hill (1959), The Return Of The Fly (1959),
The Comedy Of Terrors (1963), The Raven (1963),
The Last Man On Earth (1964), The Tomb Of Ligeia (1964),
And Dr. Phibes Rises Again (1972)
In Stores Everywhere On October...
The Vincent Price Collection II
Featuring The First-ever Blu-ray™ Presentation Of
The House On Haunted Hill (1959), The Return Of The Fly (1959),
The Comedy Of Terrors (1963), The Raven (1963),
The Last Man On Earth (1964), The Tomb Of Ligeia (1964),
And Dr. Phibes Rises Again (1972)
In Stores Everywhere On October...
- 8/15/2014
- by Shawn Savage
- The Liberal Dead
On 21 March 2012, the British horror cinema lost of one of its most interesting and distinctive talents, director Robert Fuest. Although his association with the genre was very brief, he achieved cult status for directing two very popular slices of classic English Gothic, The Abominable Dr Phibes (1971) and Dr Phibes Rises Again (1972).
A former set designer with a unique visual flare, Fuest represented a group of innovative and original film-makers that formed an important part of the horror genre of the late sixties and early seventies. These luminaries included Roman Polanski, Michael Reeves, Peter Sasdy, Daniel Haller and Curtis Harrington. Fuest came on the scene much later on, and like his colleagues before him, never quite fulfilled his early promise. Its fair to say Fuest never had much of a chance. The horror genre of the late sixties was beginning to lose direction, both artistically and commercially, and by the mid seventies,...
A former set designer with a unique visual flare, Fuest represented a group of innovative and original film-makers that formed an important part of the horror genre of the late sixties and early seventies. These luminaries included Roman Polanski, Michael Reeves, Peter Sasdy, Daniel Haller and Curtis Harrington. Fuest came on the scene much later on, and like his colleagues before him, never quite fulfilled his early promise. Its fair to say Fuest never had much of a chance. The horror genre of the late sixties was beginning to lose direction, both artistically and commercially, and by the mid seventies,...
- 4/11/2012
- Shadowlocked
When I was a kid, I used to love a scary movie. I remember catching the original The Haunting (1963) one night on Channel 9’s Million Dollar Movie when I was home alone. Before it was over, I had every light in the house on. When my mother got home she was screaming she’d been able to see the house glowing from two blocks away. The only thing screaming louder than her was the electricity meter.
That was something of an accomplishment, scaring me like that. Oh, it’s not that I was hard to scare (I still don’t like going down into a dark cellar). But, in those days, the movies didn’t have much to scare you with. Back as far as the 50s, you might find your odd dismemberment and impaling, even an occasional decapitation, but, generally, the rule of the day was restraint. Even those rare dismemberments,...
That was something of an accomplishment, scaring me like that. Oh, it’s not that I was hard to scare (I still don’t like going down into a dark cellar). But, in those days, the movies didn’t have much to scare you with. Back as far as the 50s, you might find your odd dismemberment and impaling, even an occasional decapitation, but, generally, the rule of the day was restraint. Even those rare dismemberments,...
- 3/31/2012
- by Bill Mesce
- SoundOnSight
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