Theater of Blood (1973) review

THEATER OF BLOOD 1973

Vincent Price (Edward Lionheart), Diana Rigg (Edwina Lionheart), Ian Hendry (Peregrine Devlin), Coral Brown (Chloe Moon), Dennis Price (Hector Snipe), Madeline Smith (Rosemary)

Directed by Douglas Hickox


Members of the Critics Circle are killed one by one in gruesome fashion modeled after those found in the plays of William Shakespeare. As the critics numbers dwindle, the murderer is thought to be Edward Lionheart, an unhealthily faithful follower of the Bard's work. Having been ridiculed and embarrassed over not receiving his due recognition for his performances, Lionheart jumped to his death into the Thames river three years earlier. Having been saved by a motley clutch of homeless vagrants, Lionheart meticulously plots his grisly revenge. This sets the stage for a macabre ceremony in which the deranged Lionheart will finally be given his Critics Circle Award for Best Actor.


Douglas Hickox deftly handles this sadistically funny horror comedy of the blackest kind. Originally called, MUCH ADO ABOUT MURDER, the ingenious script is a reworking of Vincent Price's previous Dr. Phibes movies. This time substituting nine murders from Shakespeare's plays for the nine plagues of the Pharaoh's, THEATER OF BLOOD (1973) also deals with Price's character having suffered a wrong and revenging himself in an elaborately staged fashion. The methods by which Price gains this retribution are as they were in the previous two PHIBES pictures; very ornate yet exaggerated to the extreme. This is one of the funniest aspects of the movie. Lionheart is constantly one step ahead of everybody including the authorities, another conceit "borrowed" from the PHIBES films. No matter what the police do, they either arrive too soon, too late, or fall prey to a decoy from the devious Lionheart.


Vincent Price gets to "ham it up", going all out in his sinister role as Edward Lionheart. So many critics and fans alike had accused Price of grossly overacting in his movies and here, he gets to play a characterization that is somewhat autobiographical of that charge. He relished this role lending him the opportunity to lash out at those same critics that lambasted him throughout his career in film. Price also was excited to perform Shakespeare, being a huge fan of the man's work. Vincent was a theatrical and Broadway performer before he got roles in Hollywood productions. Prior to the filming of THEATER OF BLOOD (1973), Price was to have went back to the theater in Missouri for the summer, but the schedule for the United Artists film prevented that. Price had become increasingly disenchanted with AIP, and at first, he saw this production as more of the same.


Getting to work with so many big names of the time as well as the juicy character he would be playing encouraged Price that this production might not be so bad after all. Not only did the role of Lionheart become one of Price's most endearing, but he would also meet the love of his life-- actress, Coral Brown, who played one of the critics in the film. Not only does Price get to show a great deal of range, he gets to don numerous costumes for each of the elaborately repulsive, but tongue in cheek murders. From an androgynous hairdresser, to a gravedigger and a devilish chef for a television program entitled 'This Is Your Dish', Vincent Price indulges his spirited and bubbly personality giving life to one of the best horror films of all time.


Diana Rigg, a British born theater, television and movie actress, was famous for her role as Emma Peel on the British spy tv show, THE AVENGERS. She is also remembered for her role as James Bond's wife in ON HER MAJESTY'S SECRET SERVICE (1969). In THEATER OF BLOOD (1973), Rigg plays Lionheart's daughter, Edwina. She, too, gets to slip into various costume changes. It becomes apparent just what capacity her character is playing early on although I must admit, when I first saw this movie years ago on the Late Show, I was oblivious to what her true purpose was. Rigg has nothing but fond memories of working with Price on the set of the film.


One of the most interesting plot devices in the picture is that when Lionheart kills off the self serving critics, each of the nine individuals shares character traits with the victims from the Bard's plays. What's especially interesting, is that the selection of Shakespeare's works were personally selected by Lionheart during his crusade for the Best Actor Award prior to his death. As fate would have it, each of the nine plays contained roles concurrent with his nine victims to be. What's even more complex is the multifaceted way in which Lionheart goes about his revenge. Several victims are seemingly set up at once building to the eventual payoff.


Such is the case with critic, Solomon Psaltery. Lionheart disguises himself as a masseuse and enjoys the company of his wife delivering chiropractical care. A message is delivered to the jealous Solomon that his wife is being unfaithful, and like the play, OTHELLO, Solomon smothers the life out of her with a pillow. For this murder, Lionheart didn't carry out the actual murder, but imposed it on his victim, playing off of his distrustful tendencies.


Easily the most memorable and wholly offensive murder is the "justice" meted out on the gay critic, Meredith Merridew. Here, Lionheart uses the grim and disturbing play, TITUS ANDRONICUS as his bloody template. In the play, one of the many nasty murders features a mother who is force fed her children baked in pies. For the film, Merridew has two poodles that he dotes over like children. Lionheart and crew invade his home under the guise of 'This Is Your Dish' (a fictitious cooking show) whereby Merridew is forced to consume the bodies of his two beloved poodles baked within a huge pie; the heads of the dogs adorning a second pie.


The first murder is also representative of Lionheart's tolerance to make sure his revenge reaches fruition regardless of the time involved. Taken from JULIUS CAESAR, the first doomed critic is cut down by the gang of alcoholic vagrants manipulated by Lionheart to carry out his revenge. Like the play, the murder is carried out on the 'ides of March', the 23rd of March. Lionheart even alters one of Shakespeare's plays without a murder to make sure death takes its intended victim.


Another critic meets his fate taken from a story device found in THE MERCHANT OF VENICE. However, the murder never actually takes place. Shylock is denied his pound of flesh by some cunning last minute word play by Antonio. Lustful critic, Trevor Dickman isn't so lucky as Lionheart makes sure to impart the chunk of viscera from his body. Delivering a package to head critic, Perigrine Devlin, he opens it to find Dickman's heart within the box. He then states the murderer is indeed Lionheart as "Only he would have the temerity to rewrite Shakespeare." At the end, Lionheart is trapped within the confines of his 'theater of blood'. After delivering a final speech then falling to his death amidst the burning and crumbling playhouse, Devlin reviews Lionheart's death much in the same manner as he did while he was alive-- "But of course he was madly overacting as usual...but you must admit, he did know how to make an exit."


The music by Michael J. Lewis is at times melancholic and verbose when required. The main theme is especially melodic containing harmonious passages that captures the sorrow and pain of Lionheart's character. One that despite being an unhinged man, is not without sympathy. The gore is also plentiful and graphic in tone. Considering Price Abhorred the use of graphic bloodletting in films (especially detesting his participation in the nasty gorefest, FROM A WHISPER TO A SCREAM 1988), what is seen in THEATER OF BLOOD (1973) is carried out in a darkly humorous fashion relieving some of the horrific tension the scenes of gruesome violence may have possessed otherwise. Director Hickox had two sons that followed in his footsteps and directed far more entries in the horror and fantasy genre-- James and Anthony Hickox.


MGM has released this title several times over the years on both VHS and DVD. Astonishingly, the VHS tape is of better quality than either of the DVD releases. Both DVD releases (one is paired with Price's MADHOUSE 1974) have lots of grain and some print damage evident throughout. The bold, sharp colors from the VHS version are largely absent in both incarnations on disc. MGM should restore this film to a much better state as it truly deserves it. One of Price's best roles and the horror genres best pictures, THEATER OF BLOOD (1973) is one Midnight Movie experience horror fans are likely to return to again and again and a movie that is justifiably worthy of its cult film admiration.

This review is representative of the MGM Midnite Movies Double Feature DVD.

The Raven (1963) review

THE RAVEN 1963

Vincent Price (Craven), Boris Karloff (Scarabus), Peter Lorre (Dr. Bedlow), Jack Nicholson (Rexford), Hazel Court (Lenore)

Directed by Roger Corman


Dr. Eurasmus Craven, a magician, is visited one night by a mysterious raven tapping outside his chamber window. Upon letting the bird inside, he discovers the creature can talk! It is soon revealed that the raven is really Dr. Bedlo, another magician belonging to an order of wizards lorded over by the sinister Dr. Scarabus; a group that Dr. Craven used to be a member of. Seeing a picture of Craven's dead wife, Lenore, Bedlo tells Craven that this woman is alive and living in Scarabus's castle. Believing the evil Scarabus to have possession of his wife's soul, Craven and company head for Scarabus's domain. There, a final duel of the wizards takes place.


Roger Corman directs this lively, funny and hugely entertaining entry, the fifth in his Edgar Allan Poe series of films. This one has little to do with Poe's original work save for the passages read over the opening of the film and a line or two spoken by Price. Comedy is the order of the day here. According to Corman, everybody had a great time participating in this production. However, Boris Karloff was slightly annoyed during his time on the film working with Peter Lorre who ad libbed much of his dialog. Karloff, a classically trained actor, preferred to recite his lines exactly as they were written and this on-the-fly style wrecked havoc with his method.


Hyped as the biggest budgeted of the Poe adaptations, the $350,000 production still utilized sets and shots from all previous films in Corman's Poe series. The set designer, Daniel Haller (who later became a director himself), created some vivid, elaborate sets with limited means. Some of the effects work are uneven and the magician duel at the end is done with animation for some shots. Considering the tone, these cartoon effects fit the playful atmosphere just fine. The magician duel is easily the major highlight of THE RAVEN (1963) and a joy to see two titans of terror going head to head in a sequence not too far removed from a Warner Brothers cartoon.


With the release of TALES OF TERROR the previous year, a slight decrease in profits was noticed. However, audiences were receptive to the 'Black Cat' episode in that film so it was decided by writer, Richard Matheson, that THE RAVEN (1963) would be a light-hearted affair. According to Hazel Court, though, she didn't think the film was initially supposed to be a comedy, that being decided on-set. From the opening moments, the viewer assumes this will be a straight horror picture.


Once Price lets the raven into his home, he begs the creature to divulge its purpose. The comedic aura is revealed when Price asks this winged messenger if he shall ever hold his wife in his arms again prompting the bird to crudely respond with, "How the hell should I know? What am I, a fortune teller?!" The bird then spouts, "Why don't you give me some wine?"


Vincent Price is wonderful here as Eurasmus Craven, a wizard formerly of the Brotherhood of Magicians. A somewhat timid man who still mourns the death of his wife, Lenore. Upon his fateful encounter with the talking raven, Craven learns it's really Dr. Bedlo, another magician; an intemperate one at that. Demanding that Craven restore him to his former self, Bedlo says he needs a number of ingredients for the spell-- dried (or evaporated) bat's blood, chain links from a gallows bird, Jellied spiders, rabbit's lard and dead man's hair among the prime components. Of course, this requires Eurasmus to venture down into his dad's old and dusty laboratory to check for the unusual ingredients. The potion prepared, the result is only partially successful leaving Bedlo with feathered arms!


Once the excitable Dr. Bedlo is finally returned to normal, Price asks how he came to be in such a predicament. Bedlo spins a story about Dr. Scarabus, the grandmaster of the Brotherhood. He states that he had become critical of his sorcerous abilities and challenged him to a duel. Had he been sober, "...which I admit, isn't very often...", the outcome would have been different. Bedlo then sees a picture of Craven's wife, Lenore and says she lives in the castle with Dr. Scarabus.


Craven shows Bedlo the moldy corpse of Lenore but comes to the conclusion that Scarabus has possibly seized her spirit. Later on it's revealed that Lenore was never dead, but grew tired of her husband's leadenly paced lifestyle, preferring the more adventurous frivolities of Scarabus. Bedlo was in with the devious duo to lure Craven there so Scarabus could learn the secrets of his magic. Even still, Bedlo somewhat redeems himself by the conclusion prior to the battle of the wizards.


Peter Lorre is the supreme cartoonish caricature of lewd and outrageous behavior. He steals away so many scenes in THE RAVEN (1963). One of the funniest bits is when the group have entered into Scarabus's castle. Once Scarabus has eased Craven's mind on his supposed intentions, he invites them all to a feast. Of course, this prompts Bedlo to drink himself into a drunken fit again challenging Scarabus to a duel of magic. One of his tricks is the use of a small wand. When Scarabus uses his power of hand gesture to make the wand go limp, Bedlo utters disappointingly, "Oh, you dirty old man...!"


Another of the best scenes occurs earlier in the film when the group are preparing to leave. As Craven opens the door, Bedlo's son Rexford (played by Jack Nicholson) is standing ready to knock. Bedlo is noticeably annoyed that his son has followed him there. Rexford says his mother has sent him to fetch his dad. While he explains, he begins touching and grabbing at Bedlo's coat. Bedlo smacks his hand away but Rexford continues. Bedlo has finally had enough and yells, "If you do that once more Rexford, I shall smash you right in the face!!" Lorre's bugged out eyes and agitated demeanor add lots of hilarity to Corman's film.


Boris Karloff has a grand time mixing it up with Price and Lorre as he essays the role of the nasty Dr. Scarabus; the sorcerer with designs on Craven's skills. Karloff could barely walk while shooting the picture but he shows what a trouper he could be by trudging along never showing the real pain he was in. The following year, Price, Lorre and Karloff would re-team for THE COMEDY OF TERRORS, another humorous entry albeit with a more darkly comical tone than the child-like, cartoon indulgence of THE RAVEN (1963). In that film, Karloff was relegated to a wheelchair for all his scenes. After THE RAVEN finished, Corman retained the services of Karloff and Nicholson for the odd little film, THE TERROR (1963), a film which Nicholson handled some of the directing.


The score by Les Baxter is a perfect balance between the light horror elements and the drollness of the film accompanied by the witty exchanges from Lorre. The finale featuring the duel of the sorcerer's is possibly the biggest highlight of THE RAVEN (1963). A sequence that literally brings the house down. From beams of light, to animated knives and axes, to levitation and turning an array of stone lions into a passel of puppies, this contest of magic wit is one of the best moments in all of Corman's Poe ventures.


Previously available in a terribly washed out VHS tape from Warner Brothers, MGM brought THE RAVEN (1963) to dvd a couple of years ago paired with the similar in tone, THE COMEDY OF TERRORS (1964) as part of the Midnite Movies double feature line. It looks even better and just as colorful as when I first saw it on the Late Show in the early 1980's, a time when monster movies dominated the weekend airwaves.


One of Roger Corman's favorites of his films, all the stars were aligned for this one. One of the best examples of the horror comedy, the film contains all the best elements that made Corman's prior Poe outings such a success-- musty dungeons and dank crypts, a big, spooky castle, moldy corpses and three of the greatest stars of horror ever to grace the screen. Adding to this recipe, a light-hearted flavor and colorful set decoration for a film that, despite not having any real monsters, is a sure-fire attraction for monster movie lovers both young and old.

This review is representative of the MGM Midnite Movies Double Feature DVD.