13 Thrilling Facts About House Of Wax

Warner Home Video
Warner Home Video

A remake of 1933’s Mystery of the Wax Museum, André de Toth’s House of Wax solidified the 3D movie craze of the 1950s. In the process it also walloped the box office and turned Vincent Price into a horror movie icon. On the 65th anniversary of the movie's release, join us on a tour of the legendary House of Wax; keep your hands off the mannequins, though—you might not want to know what lies beneath.

1. IT WAS ONLY THE SECOND 3D MOVIE TO BE RELEASED BY A MAJOR STUDIO.

Three-dimensional cinema is older than you might think. The first feature film to use this technology was the silent drama Power of Love, which dates all the way back to 1922. Yet audiences didn’t truly embrace this innovation until some 30 years later with the release of Bwana Devil—a Technicolor thriller about man-eating lions. Produced independently, Bwana Devil ballooned into a surprise smash, grossing more than $1.3 million in its first month in just 30 theaters. This really caught Hollywood’s attention. At a time when cinemas had to compete with television, 3D looked like the next big thing, a spectacle that could draw viewers out of their living rooms and into the nearest movie house. The industry’s biggest players rushed to cash in. On April 8, 1953, Columbia Pictures’ Man in the Dark premiered, making it the first 3D movie ever released by a major studio. House of Wax, a Warner Bros. film, opened just two days later.

2. IRONICALLY, THE DIRECTOR LACKED DEPTH PERCEPTION.

As a child, André de Toth lost his left eye in an accident. Hence, the native Hungarian often wore an eyepatch. Rumor has it that WB president Jack Warner ordered de Toth not to wear the accessory on the set of House of Wax, lest anyone ridicule the studio for giving a 3D project to a one-eyed filmmaker. However, leading lady Phyllis Kirk cast some doubt on this story. “He may have [gone without his patch], but I don’t remember it,” she said later in an interview. But by all accounts, de Toth was undaunted by the challenging job; once, he rhetorically asked a reporter, “Beethoven couldn’t hear music either, could he?”

Far from being a setback, de Toth’s limited sight may have actively improved the finished product. Vincent Price himself thought as much. According to his daughter, Victoria Price, “Vincent felt that House of Wax was saved from being unrelieved schlock by the faulty vision of its director … Since the 3D effect was lost on him, de Toth never really understood what the fuss was about, and limited his use of the gimmick rather than shamelessly indulging it the way a man with normal eyesight might have done. It was de Toth’s relative restraint, he believed, that turned House of Wax into a classic.”

3. VINCENT PRICE’S MAKEUP LOOKED SO GROTESQUE THAT HE WASN’T ALLOWED TO ENTER CERTAIN BUILDINGS WHILE WEARING IT.

In the movie, Price plays Professor Henry Jarrod, a wax sculptor whose museum and beloved figurines are torched by a greedy businessman (more on that later). Jarrod survives, but his face is horribly disfigured. Since the film was to be shot in both Technicolor and 3D, great pains were taken to ensure that Price’s makeup looked as convincing as possible. The result was a patchwork of hideous burns that shocked audiences—and nauseated a lot of Warner Bros. employees. “I was banished from the studio commissary,” Price later recalled. “This cold shoulder treatment started when I walked [in there] for lunch for the first time and the girl at the register turned green and almost fainted. Then the patrons got up and headed for the door. It was a bad day for business.”

4. IGOR WAS PLAYED BY A YOUNG CHARLES BRONSON.

Warner Home Video

Like Dr. Frankenstein, Professor Jarrod has a henchman named Igor—albeit, one that suffers from mutism instead of back problems. The role was given to Charles Buchinsky, who’d later emerge as one of Hollywood’s favorite tough guys in movies like The Magnificent Seven and The Great Escape. Worried that an eastern European last name might cost him a lot of work during the second Red Scare, Buchinsky rechristened himself as “Charles Bronson“ in 1954.

5. ONE ACTOR’S APPEARANCE WENT UNCREDITED BECAUSE HE’D BEEN BLACKLISTED.

Buchinsky/Bronson had it easy; changing his last name was nothing compared to what Nedrick Young went through as a result of Joseph McCarthy’s communist witch hunt. In early 1953, Young portrayed Leon (Jarrod’s other assistant) in House of Wax. Then, before the movie opened, he had to square off against a very different house: Accused of being a Marxist sympathizer, Young was questioned before the House Un-American Activities Committee. By his own admission, the actor was “a very unfriendly witness.” When asked outright if he was a communist, Young pled the fifth—and was blacklisted. Thanks to the controversy, his name was stricken from the credits in House of Wax.

6. PHYLLIS KIRK TRIED TO TURN THE MOVIE DOWN.

Since she was under contract with Warner Bros., Kirk had no choice but to appear in this picture when the studio cast her as Sue Allen, one of the leads. That didn’t stop her from complaining about the gig. “I bitched and moaned and … [said] that I wasn’t interested in becoming the Fay Wray of my time,” Kirk confessed. Another bone of contention was the 3D format, which she regarded as a “gimmick.” But despite these reservations, Kirk decided that playing ball would be preferable to getting suspended. “And incidentally, I went on to have a lot of fun making House of Wax,” she admitted.

7. THE FIRE IN THE OPENING SCENE SPREAD WILDLY OUT OF CONTROL.

It must have been easy for Price to act alarmed in the sequence in which his museum burns down. Right before the shoot, de Toth’s crew set three “spot fires” in strategic locations. Then the cameras started rolling and everything went downhill. The team quickly lost control of their fires, which merged into a massive inferno that put a hole in the sound stage roof and singed Price’s eyebrows. But because the rapidly melting wax mannequins would’ve been very hard to replace, de Toth kept on filming—even as firemen arrived to help extinguish the flames.

8. IT COMES WITH AN INTERMISSION.

Prior to the late 1970s, “epic” films would often treat their viewers to a built-in bathroom break. Midway through screenings of Gone With the Wind and other, extra-long classics, the action would pause, the theater lights would brighten, and the word “Intermission” would appear onscreen. Ordinarily, this practice was reserved for movies with bladder-testing runtimes of two and a half hours or more. By comparison, House of Wax flies by with its breezy 88-minute runtime. Yet, unconventionally for a short picture, it contains an intermission. Why? Screening the 3D film required two projectors running simultaneously. The respite was necessary because it allowed theater employees to change both reels an hour into the movie.

9. A FUNCTIONING GUILLOTINE WAS USED IN THE CLIMAX.

Toward the end of the film, Igor gets into a big fight with Sue’s boyfriend, Scott, played by Paul Picerni. From the get-go, there’s no doubt about which one has the upper hand, as Igor seizes poor Scott and shoves his head under a guillotine in the museum’s French Revolution display. Luckily, the police arrive in time to rescue our hero, pulling him out of harm’s way seconds before the blade comes crashing down.

Just like his character, Picerni came dangerously close to getting his head chopped off, Louis XVI-style—because this guillotine was 100 percent real. Rather than film the scene in segments, de Toth wanted to shoot the whole thing in one take. With blithe nonchalance, he told Picerni to go and stick his head under the razor-sharp blade of this death device.

Naturally, Picerni objected. At a 2006 House of Wax Q&A, the star reminisced at length about the argument that followed. “I asked de Toth, ‘How are you going to control the blade?’ He said the property master was going to sit on top of the guillotine, holding the blade between his legs, then let it drop after my head was removed.” When the actor opined that this sounded dangerous, de Toth replied, “What are you, chicken sh*t?” In the end, Picerni agreed to do the scene in one take, on the condition that a metal bar be inserted under the blade to keep it from falling prematurely.

10. THE FILM WAS COMPLETED WAY AHEAD OF SCHEDULE.

House of Wax was given a $1.5 million budget and 60-day shooting schedule. De Toth finished it in only 28 days for a meager $650,000. Blown away by this efficiency, Jack Warner sent him a case of whiskey as a “thank you.”

11. BELA LUGOSI ATTENDED THE PREMIERE—ALONG WITH A GUY IN A GORILLA SUIT.

Although the star of Universal’s Dracula (1931) did not appear in House of Wax, he did help promote it. The film’s world premiere was held at the Paramount Theater in Los Angeles on April 16, 1953. As a publicity stunt, Lugosi was invited to attend the big event. Clad in a vampire cape, he emerged from his limousine with a chain link leash, which was attached to an actor in an ape costume—a clear homage to the 1952 comedy Bela Lugosi Meets a Brooklyn Gorilla.

12. IT MADE BOX OFFICE HISTORY.

House of Wax turned into one of the biggest hits of 1953 and 1954. In an era where movie tickets cost an average of 49 cents apiece, the horror feature pulled in an astonishing $5.5 million domestically. This made House of Wax the highest-grossing 3D movie ever made at the time, although it would lose this title in 1969 to a popular “skin flick” called The Stewardesses. By the way, Star Wars: The Force Awakens is the current record-holder.

13. PRICE LIKED TO ATTEND SCREENINGS OF THE MOVIE INCOGNITO.

As the thespian once told biographer Joel Eisner, he’d regularly go out and see House of Wax during its run. Happily for Price, the requisite 3D glasses could usually conceal his identity in the back of a dimly lit theater. But one night, he decided to make his presence known. At a showing in New York City, Price quietly took a seat behind two teenagers. Right after a particularly frightening scene, he leaned forward and asked “Did you like it?” In Price’s words, “They went right into orbit!"

Amazon’s Big Fall Sale Features Deals on Electronics, Kitchen Appliances, and Home Décor

Dash/Keurig
Dash/Keurig

If you're looking for deals on items like Keurigs, BISSELL vacuums, and essential oil diffusers, it's usually pretty slim pickings until the holiday sales roll around. Thankfully, Amazon is starting these deals a little earlier with their Big Fall Sale, where customers can get up to 20 percent off everything from home decor to WFH essentials and kitchen gadgets. Now you won’t have to wait until Black Friday for the deal you need. Make sure to see all the deals that the sale has to offer here and check out our favorites below.

Electronics

Dash/Amazon

- BISSELL Lightweight Upright Vacuum Cleaner $170 (save $60)

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- Keurig K-Café Single Coffee Maker $169 (save $30)

- COMFEE Toaster Oven $29 (save $9)

- AmazonBasics 1500W Oscillating Ceramic Heater $31 (save $4)

Home office Essentials

HP/Amazon

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- HP Printer Paper (500 Sheets) $5 (save $2)

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- Swingline Desktop Hole Punch $7 (save $17)

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Selieve/Amazon

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Home Improvement

DEWALT/Amazon

- DEWALT 20V MAX LED Hand Held Work Light $54 (save $65)

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- Bissell MultiClean Wet/Dry Garage Auto Vacuum $111 (save $39)

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Home Décor

NECA/Amazon

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12 Surprising Facts About T.S. Eliot

Getty
Getty

Born September 26, 1888, modernist poet and playwright Thomas Stearns (T.S.) Eliot is best known for writing "The Waste Land." But the 1948 winner of the Nobel Prize in Literature was also a prankster who coined a perennially popular curse word, and created the characters brought to life in the Broadway musical "Cats." In honor of Eliot’s birthday, here are a few things you might not know about the writer.

1. T.S. Eliot enjoyed holding down "real" jobs.

Throughout his life, Eliot supported himself by working as a teacher, banker, and editor. He could only write poetry in his spare time, but he preferred it that way. In a 1959 interview with The Paris Review, Eliot remarked that his banking and publishing jobs actually helped him be a better poet. “I feel quite sure that if I’d started by having independent means, if I hadn’t had to bother about earning a living and could have given all my time to poetry, it would have had a deadening influence on me,” Eliot said. “The danger, as a rule, of having nothing else to do is that one might write too much rather than concentrating and perfecting smaller amounts.”

2. One of the longest-running Broadway shows ever exists thanks to T.S. Eliot.

Getty Images

In 1939, Eliot published a book of poetry, Old Possum’s Book of Practical Cats, which included feline-focused verses he likely wrote for his godson. In stark contrast to most of Eliot's other works—which are complex and frequently nihilistic—the poems here were decidedly playful. For Eliot, there was never any tension between those two modes: “One wants to keep one’s hand in, you know, in every type of poem, serious and frivolous and proper and improper. One doesn’t want to lose one’s skill,” he explained in his Paris Review interview. A fan of Eliot's Old Possum’s Book of Practical Cats since childhood, in the late '70s, Andrew Lloyd Webber decided to set many of Eliot's poems to music. The result: the massively successful stage production "Cats," which opened in London in 1981 and, after its 1982 NYC debut, became one of the longest-running Broadway shows of all time.

3. Three hours per day was his T.S. Eliot’s writing limit.

Eliot wrote poems and plays partly on a typewriter and partly with pencil and paper. But no matter what method he used, he tried to always keep a three hour writing limit. “I sometimes found at first that I wanted to go on longer, but when I looked at the stuff the next day, what I’d done after the three hours were up was never satisfactory," he explained. "It’s much better to stop and think about something else quite different.”

4. T.S. Eliot considered "Four Quartets" to be his best work.

In 1927, Eliot converted to Anglicanism and became a British citizen. His poems and plays in the 1930s and 1940s—including "Ash Wednesday," "Murder in the Cathedral," and "Four Quartets"—reveal themes of religion, faith, and divinity. He considered "Four Quartets,” a set of four poems that explored philosophy and spirituality, to be his best writing. Out of the four, the last is his favorite.

5. T.S. Eliot had an epistolary friendship with Groucho Marx.

Eliot wrote comedian Groucho Marx a fan letter in 1961. Marx replied, gave Eliot a photo of himself, and started a correspondence with the poet. After writing back and forth for a few years, they met in real life in 1964, when Eliot hosted Marx and his wife for dinner at his London home. The two men, unfortunately, didn’t hit it off. The main issue, according to a letter Marx wrote his brother: the comedian had hoped he was in for a "Literary Evening," and tried to discuss King Lear. All Eliot wanted to talk about was Marx's 1933 comedy Duck Soup. (In a 2014 piece for The New Yorker, Lee Siegel suggests there had been "simmering tension" all along, even in their early correspondence.)

6. Ezra Pound tried to crowdfund T.S. Eliot’s writing.

Wikimedia Commons // Public Domain

In 1921, Eliot took a few months off from his banking job after a nervous breakdown. During this time, he finished writing "The Waste Land," which his friend and fellow poet Ezra Pound edited. Pound, with the help of other Bohemian writers, set up Bel Esprit, a fund to raise money for Eliot so he could quit his bank job to focus on writing full-time. Pound managed to get several subscribers to pledge money to Eliot, but Eliot didn’t want to give up his career, which he genuinely liked. The Liverpool Post, Chicago Daily Tribune, and the New York Tribune reported on Pound’s crowdfunding campaign, incorrectly stating that Eliot had taken the money, but continued working at the bank. After Eliot protested, the newspapers printed a retraction.

7. Writing in French helped T.S. Eliot overcome writer’s block.

After studying at Harvard, Eliot spent a year in Paris and fantasized about writing in French rather than English. Although little ever came of that fantasy, during a period of writer’s block, Eliot did manage to write a few poems in French. “That was a very curious thing which I can’t altogether explain. At that period I thought I’d dried up completely. I hadn’t written anything for some time and was rather desperate,” he told The Paris Review. “I started writing a few things in French and found I could, at that period ...Then I suddenly began writing in English again and lost all desire to go on with French. I think it was just something that helped me get started again."

8. T.S. Eliot set off stink bombs in London with his nephew.

Eliot, whose friends and family called him Tom, was supposedly a big prankster. When his nephew was young, Eliot took him to a joke shop in London to purchase stink bombs, which they promptly set off in the lobby of a nearby hotel. Eliot was also known to hand out exploding cigars, and put whoopee cushions on the chairs of his guests.

9. T.S. Eliot may have been the first person to write the word "bulls**t."

In the early 1910s, Eliot wrote a poem called "The Triumph of Bulls**t." Like an early 20th-century Taylor Swift tune, the poem was Eliot’s way of dissing his haters. In 1915, he submitted the poem to a London magazine … which rejected it for publication. The word bulls**t isn’t in the poem itself, only the poem’s title, but The Oxford English Dictionary credits the poem with being the first time the curse word ever appeared in print.

10. T.S. Eliot coined the expression “April is the cruelest month.”

Thanks to Eliot, the phrase “April is the cruelest month” has become an oft-quoted, well-known expression. It comes from the opening lines of "The Waste Land”: “April is the cruelest month, breeding/Lilacs out of the dead land, mixing/Memory and desire, stirring/Dull roots with spring rain.”

11. T.S. Eliot held some troubling beliefs about religion.

Over the years, Eliot made some incredibly problematic remarks about Jewish people, including arguing that members of a society should have a shared religious background, and that a large number of Jews creates an undesirably heterogeneous culture. Many of his early writing also featured offensive portrayals of Jewish characters. (As one critic, Joseph Black, pointed out in a 2010 edition of "The Waste Land" and Other Poems, "Few published works displayed the consistency of association that one finds in Eliot's early poetry between what is Jewish and what is squalid and distasteful.") Eliot's defenders argue that the poet's relationship with Jewish people was much more nuanced that his early poems suggest, and point to his close relationships with a number of Jewish writers and artists.

12. You can watch a movie based on T.S. Eliot’s (really bad) marriage.

Wikimedia Commons // Public Domain

Tom & Viv, a 1994 film starring Willem Dafoe, explores Eliot’s tumultuous marriage to Vivienne Haigh-Wood, a dancer and socialite. The couple married in 1915, a few months after they met, but the relationship quickly soured. Haigh-Wood had constant physical ailments, mental health problems, and was addicted to ether. The couple spent a lot of time apart and separated in the 1930s; she died in a mental hospital in 1947. Eliot would go on to remarry at the age of 68—his 30-year-old secretary, Esmé Valerie Fletcher—and would later reveal that his state of despair during his first marriage was the catalyst and inspiration for "The Waste Land."

This story has been updated for 2020.