#vincent price
my favorite genre of villain is “vincent price having fun”
The Abominable Dr. Phibes (1971, Robert Fuest)
I guess the Halloween season is a perfect time to note the 50th anniversary of this campy, clever vehicle for Vincent Price.
It’s some silly fun that uniquely combines an Art Deco aesthetic with the adolescent grand guignol vibe of E.C. Comics. Basil Kirchin’s lush score adds to the richness. There are all kinds of winking, knowing flourishes throughout. Having the investigators berated at one point for showing up only after someone else gets dead is a sly, inside jibe at the director, who helmed a few episodes of the iconic British TV crime series “The Avengers.”
Another nice touch is the clockwork “house band” for Dr. Anton Phibes’ palatial estate. Or the curtains on each door and window of Phibes’ Rolls-Royce, illustrated with side and rear views of the man himself (Wes Anderson, take note). Any time that limo heads out across the English countryside, well, it’s not for a Sunday drive.
There were complaints at the time that Vincent Price’s most distinct quality, his voice, could not be exploited for this character. Price compensates, however, with his eyes, a few odd pauses, and a menacing, fully theatrical physicality.
For example, Phibes observes from a distance (via telescope) a victim’s biplane that he’s tricked out with another elaborate trap. When the plane makes a fiery crash, he swirls the telescope on its tripod and begins applauding.
But if we come to this picture to see the mad doctor, we stay for the even more bizarre Vulnavia, who is Phibes’ surgical assistant and devoted Girl Friday.
She’s especially captivating when sweeping the ballroom after hours, or when she’s out for an afternoon fall stroll.
Yes, Vulnavia’s a murderous little minx with ice in her veins, but style points where style points are due, I always say. She was born to wear that black fur ushanka and velvet cape with brocade appointments—and her handsome little greyhound sports a suede collar. Vulnavia was an artist with fox fur—even during off days.
I think of her whenever it snows.
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Lillian Gish, Bette Davis, Vincent Price and Ann Sothern in The Whales of August (1987) and Lillian with Lindsay Anderson. This is Lindsay’s second entry on the New York Times list of the 1,000 Best Films, after This Sporting Life.
The Whales of August is Lillian’s third honorable mention (after Orphans of the Storm and Duel in the Sun), Bette’s tenth honorable mention, Vincent’s second (after The Long Night), and Ann’s third (after Brother Orchid and Lady in a Cage).
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