Classic Film Stars--Not Terror--in the Wax Museum

Wax Jack the Ripper and Ray Milland.

Ray Milland, Elsa Lanchester, Louis Hayward, Broderick Crawford, John Carradine, Maurice Evans, and Patric Knowles...that would have been an impressive cast for a film made in the 1940s or 1950s. Alas, by the 1970s, these classic-era actors were at the twilight of their careers and found themselves appearing together in the low-budget horror picture Terror in the Wax Museum (1973).

Elsa Lanchester.

Set in turn-of-the-century London, it stars Carradine as Claude Dupree, the co-owner and lead sculptor of a wax museum that specializes in horrific subjects such as Lizzy Borden and Jack the Ripper. Dupree is contemplating closing the museum and selling the wax figures to a brash American businessman (Crawford). It's a tough decision, especially since Dupree thinks of his wax figures as family and doesn't want his hunch-backed assistant Karkov to lose his job.

Louis Hayward.

Of course, it becomes a moot point when Dupree is murdered by someone dressed as the wax Jack the Ripper. There are plenty of suspects, to include Dupree's business partner (Milland), his niece (Nicole Shelby) and her guardian (Lanchester), a nearby pub owner (Hayward), the American businessman, and, of course, the sensitive Karkov (Steven Marlo).

Alas, Terror in the Wax Museum is not much of a mystery, relying on cliché plot points such as a missing will and hidden treasure. It was also an oddity when I first saw it during its theatrical run. At a time when horror films were becoming more bloody--even Hammer's period-set pictures--Terror in the Wax Museum was extremely mild. It's not even as intense as the 1966 wax museum movie Chamber of Horrors, which was originally made for television.

It's Karkov...not Karkoff.

Still, the cast alone makes Terror in the Wax Museum worth a one-time viewing. In addition to the aforementioned stars, there's also Shani Wallis (who played Nancy in Oliver!) and Lisa Lu (The Joy Luck Club). According to the AFI Catalog, the wax figures were played by "twelve members of the Laguna Beach Festival of Arts Pageant of the Masters, a popular southern California 'Living Picture' troupe."

The film's publicity materials are a lot of fun, too. First, the character Karkov was sometimes listed as Karkoff (perhaps to make viewers think Boris Karloff was in the cast). A lobby card misidentified Lizzie Borden as Lucrezia Borgia and vice versa. I have also seen a poster showing Terror on a double-feature with Ted V. Mikels' The Doll Squad. Now, there's a twin bill!

Finally, producer Andrew J. Fenady and his brother, director Georg Fenady, shot Terror in the Wax Museum back-to-back with the oddball comedy Arnold (1973). That film starred Stella Stevens and Roddy McDowall, but also featured Terror troupers Elsa Lanchester, Patric Knowles, and Steven Marlo.

Witness for the Prosecution: It's Billy Wilder--Not Hitch!

A dear friend of mine has referred to Witness for the Prosecution as an Alfred Hitchcock movie on more than one occasion. That's understandable--it looks, smells, and feels like a Hitch pic. The fact that it was directed by Billy Wilder is a testament to Mr. Wilder's versatility as a filmmaker. The Austrian-born writer-director was adept at making screwball comedies (One, Two, Three), film noir (Double Indemnity), satire (The Apartment), sophisticated comedy (Sabrina), drama (The Lost Weekend), and romance (Avanti!). In Witness for the Prosecution, he expertly blends courtroom drama and humor--in the best Hitchcockian tradition.

Tyrone Power as the defendant.

Charles Laughton stars as Sir Wilfred Robarts, a grumpy but shrewd London barrister who was recently released from the hospital after suffering a heart attack. Against the advice of his physicians, Sir Wilfred takes on a murder case (his specialty). His client is an affable chap named Leonard Vole (Tyrone Power) accused of killing an elderly lady. Vole's alleged motive is that the murder victim left him a substantial amount of money in her will. His alibi rests on the testimony of his German wife Christine (Marlene Dietrich), who leaves a decidedly cold impression with Sir Wilfred.

Based on a short story and stage play by Agatha Christie, Witness for the Prosecution is justly famous for its twist ending--which is flawlessly executed. It was probably one of the first films that marketed its climatic twist. Indeed, a voiceover prior to the closing credits asked moviegoers not to reveal the ending to their friends. However, like Hitchcock's Psycho, Witness is a strong film that's enhanced by its famous plot device. It certainly doesn't rely on a clever trick to be entertaining.

The film's success can be attributed to those old basics of good acting and good script writing. Laughton, who had a tendency to ham up some of his later roles, finds the perfect blend of seriousness and humor. He is matched by Dietrich and his wife Elsa Lanchester as Miss Plimsoll, a nurse charged with the unenviable task of caring for Sir Wilfred. Lanchester and Laughton make a delightful comic team, one savvy enough to generate laughs out of the contents of a thermos. Dietrich has a more difficult role, especially since her character is a conundrum for much of the film. However, when it comes to her big scenes, she exceeds all expectations.

Nurse Plimsoll and Sir Wilfred.

There was a time when I considered Tyrone Power to be the film's weak link. I still don't believe his performance ranks with the ones delivered by his co-stars. However, I have gradually come to the realization that Power is portraying a character playing a character. That's got to be a challenge, so, on that level, he does a solid job as the smarmy Vole.

Marlene Dietrich in the witness box.

In adapting Christie's play, Wilder and co-writers Larry Marcus and Harry Kurnitz made two significant additions. First, they added scenes showing how Leonard met Christine and later befriended the murder victim. The latter doesn't add much to the plot, but the scenes of Christine soften her character and help justify actions taken later in the film. Dietrich's nightclub number was reportedly based on a scene cut from Wilder's A Foreign Affair (1948), which starred Dietrich, Jean Arthur, and John Lund. The cabaret set cost over $75,000 to build.

Still, Wilder's most significant contribution to the script was the creation of the delightful Nurse Plimsoll. Many of the film's best lines are delivered by her or directed at her by the gruff barrister (Miss Plimsoll: "Sir Wilfred, we mustn't forget that we've had a teeny weeny heart attack."). Plus, Wilder gets a lot of mileage out of Sir Wilfred's amusing attempts to hide his vices (e.g., cigars and brandy) from Miss Plimsoll's watchful eyes.

Witness for the Prosecution earned six Academy Award nominations, including Best Director for Wilder, Best Actor for Laughton, and Best Supporting Actress for Lanchester. It was remade for television in 1982 with another impressive cast: Ralph Richardson as Sir Wilfred, Deborah Kerr as Miss Plimsoll, and Diana Rigg as Christine. I haven't seen that version since it's original broadcast, but recall it being very well done.