Vincent Price has always been associated with the horror genre even though he appeared in all kinds of other films during his career such as film noir (Laura), comedy (Champagne for Caesar), westerns (The Baron of Arizona), historical drama (The Private Lives of Elizabeth and Essex), science fiction (The Invisible Man Returns) and more. But his particular brand of villainy in horror films tend to be almost tongue-in-cheek with a macabre sense of humor and campy flourishes as in House on Haunted Hill (1959), The Tingler (1959), Diary of a Madman (1963) or Theater of Blood (1973), to name a few. His performance as infamous witch hunter Matthew Hopkins in The Conqueror Worm, however, was something else entirely – a genuinely chilling portrayal that was like nothing else he had ever done or would ever do again. Even today the intensity of his evil is the stuff of nightmares and he seems to be channeling the malevolent spirit of Hopkins in what is still a timely snapshot of political and religious persecution in the 17th century.
Tag Archives: Barbara Steele
Androids with four arms! Curvaceous, lifelike inflatable women! Bald interplanetary kidnappers dressed in dark raincoats and wearing shades! Human mutants and laboratory rejects! A bizarre space-age cabaret where all of the performers are dressed as giant butterflies! These are just a few of the sights you’ll see on The Wild, Wild Planet (1966), a groovy Italian science-fiction adventure directed by Antonio Margheriti.Continue reading
Stop the World…I Want to Get Off!
No, I am not referring to the 1961 musical by Anthony Newley and Leslie Bricusse, which enjoyed successful stage productions in London and Broadway before being adapted for the screen in 1966. I’m talking about the 1970 satire, Fermate il Mondo…Voglio Scendere! (the title translates as Stop the World…I Want to Get Off! In English), which was the directorial debut of Italian actor Giancarlo Cobelli, based on a screenplay he wrote with fellow thespians Giancarlo Badessi and Laura Betti, a close friend and frequent collaborator with Pier Paolo Pasolini. The film is a frenzied attack on consumerism and the Italian media but its bursting-at-the-seams energy emanates not so much from outrage as it does from a madcap sense of anarchy.Continue reading