André de Toth
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Filmography
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The Hateful Eight (2015)
Directed by Quentin Tarantino
influenced by Day of the Outlaw (1959)
Visuals
Tarantino's widescreen compositions look great, but, perversely, the snowy outdoor sequences — which nod to such classic winter Westerns as "Day of the Outlaw" (1959) and "The Great Silence" (1968) — are minimal.
Typically for a filmmaker engrossed by genre cinema more than life, Tarantino has reimagined not the historical West, but the modernist West of André De Toth’s wintry Day of the Outlaw (which may have prompted The Hateful Eight’s bifurcation and cabin fever mood) and Sergio Corbucci’s allegorical spaghetti classic The Great Silence (Q.T.'s “favourite snow Western”).
What follows is a string of events that’s often outrageous, sometimes hilarious, but rather than cool or stylish, the film is bleak and severe in the classic tradition of snowbound westerns such as William Wellman’s Track of the Cat and André de Toth’s Day of the Outlaw .
The film itself was a fairly loose remake of 1933's Mystery of the Wax Museum (which is, ironically, most significant for being a last: it was the final major studio feature shot in 2-color Technicolor), which means basically that the opening sequence, climax, and narrative hook are all the same, but the mix of characters is completely different.
“House of Wax” is a remake of the 1933 thriller “Mystery of the Wax Museum,” and it’s one of the rare remakes that improves on the original.
A remake of Mystery of the Wax Museum (1933), the superior House of Wax stars Vincent Price as the master sculptor and owner of a wax museum in turn-of-the-century New York.
The abovementioned chillers hit DVD in conjunction with 1963's The Haunting and Andre De Toth's remake of Michael Curtiz's Mystery of the Wax Museum, House of Wax, a 3-D ("Natural Vision") production presented in 2-D for home viewing to surprisingly undiminished effectiveness.
However, “House of Wax” tells a compelling story as a remake of the 1933 classic “Mystery of the Wax Museum.”
Because we’re intimately aware of Jarrod’s cadaver-fueled waxadermic activities, de Toth doesn’t generate much suspense from his scenario (based on 1933’s Mystery of the Wax Museum).
Journey to the Center of the Earth (2008)
Directed by Eric Brevig
influenced by House of Wax (1953)
Visuals
But "Journey to the Center of the Earth" works because it's wholly in love with the nostalgic nature of its gimmick -- even though the technology it uses has come a long way since André de Toth (who, ironically, had only one eye) wowed audiences in 1953 with that infamous coming-right-at-ya paddle-ball effect in "House of Wax." Brevig, working from an admirably uncomplicated script (by Michael D. Weiss, Jennifer Flackett and Ed Levin), digs in and makes nifty use of the possibilities offered by modern 3-D.
Back in 1953 moviegoers willing to put on those awkward cardboard 3D glasses to watch the thriller House of Wax were treated to a wicked paddleball bouncing off the screen.
House of Wax is a vague remake of a 1953 film of the same name which starred Vincent Price, and the conceit is strong.
Take a horror movie that the old gorehounds admire (1953's "House of Wax"), a modern remake that made a lot of money ("The Texas Chainsaw Massacre"), and a forgotten old cult thriller that's just prefect to steal from ("Tourist Trap") and you get this muddled concoction, a horror flick that's mercilessly dry and boring for 2/3rds of its running time ... and hopelessly loud, stupid, and gore-soaked for the final third.
Andre de Toth's excellent 1953 House of Wax included a frighteningly surreal sequence in which a fire breaks out in the museum (run by Vincent Price), licks the wax figures and melts them.
Based on the classic 3D film of the '50s starring Vincent Price, "House of Wax" is an almost 2-hour long exercise in bad film making.
I didn’t have high hopes for House of Wax, an extremely loose adaptation of the 1953 Vincent Price horror classic.
The 1953 "House of Wax," which starred Vincent Price, is one of the most fondly remembered of the 3D movies of its period.
I can't make that claim entirely divorced of hedging: it would be another half-decade until he appeared in The Fly , the first film in the almost uninterrupted run of horror movies he'd appear in throughout the second half of his career (we could maybe stretch a point and call the starting point of this run his 1957 appearance as a non-threatening Satan in the horror-free The Story of Mankind ), and he'd already appeared in three horror-ish films in 1939 and '40, Tower of London , The Invisible Man Returns , and The House of the Seven Gables .
Rene and Zoey are watching 1953’s House of Wax for some reason…