![]() ![]() He creates wax statues of historical figures, but his business partner, Matthew Burke, is frustrated that Jarrod will not make more sensational exhibits, like those that draw crowds to their competitors, and wants to end their partnership. ![]() In New York City in the early 1900s, Professor Henry Jarrod is a talented sculptor who runs a wax museum. The Library of Congress selected House of Wax for preservation in the National Film Registry in 2014, deeming it "culturally, historically, or aesthetically significant". released a loose remake of the film in 2005. Another major re-release occurred during the 3D boom of the early 1980s. Newly struck prints of the film in Chris Condon's single-strip StereoVision 3D format were used for this release. In 1971, the film was re-released to theaters in 3D with a full advertising campaign. The film premiered in New York on April 10, 1953, and had a general release on April 25, making it the first 3D film with stereophonic sound to be presented in a regular theater and the first color 3D feature film from a major American studio ( Columbia Pictures' Man in the Dark, the first major-studio black-and-white 3D feature, premiered two days before House of Wax). of their 1933 film Mystery of the Wax Museum, it stars Vincent Price as a disfigured sculptor who repopulates his destroyed wax museum by murdering people and using their wax-coated remains as displays. As extravagant new wax museums open in Las Vegas, Times Square, and Paris, Waxworks offers a provocative cultural history of this enduring-and disturbing-art form.House of Wax is a 1953 American period mystery- horror film directed by Andre DeToth. Bringing her discussion to the present, Bloom examines the work of contemporary artists who use the medium of wax in ways never imagined by Madame Tussaud. Filmmakers, too, have sought inspiration from wax museums, and Bloom analyzes works from the silent era to such waxwork-themed Hollywood horror films as Mystery of the Wax Museum (1933) and Mad Love (1935). In particular, she connects the myth of Pygmalion to the obsession with wax statues of women in the nineteenth-century fetishization of prostitutes and female corpses and as depicted in such “wax fictions” as Dickens’s The Old Curiosity Shop (1841). Bloom explores the motif of the wax figure in European and American literature and art. ![]() In The Mystery of the Wax Museum (1933), director Michael Curtiz perfectly captures the macabre essence of realistic wax figures that have excited the darker aspects of the public’s imagination ever since Madame Tussaud established her famous museum in London in 1802.Īrtists, too, have been fascinated by wax sculptures, seeing in them-and in the unique properties of wax itself-an eerie metaphoric power with which to address sexual anxiety, fears of mortality, and other morbid subjects. “In a thousand years you will be as lovely as you are now,” he assures one victim. Crippled, disfigured, and driven mad by the fire, he resorts to body snatching and murder to populate his displays, preserving the bodies in wax. Twelve years later, he opens a wax museum in New York. ![]() The world’s greatest wax sculptor watches in horror as flames consume his museum and melt his uncannily lifelike creations. ![]()
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