MAY CONTAIN SPOILERS!
This follow up to 'The Abominable Dr Phibes' just goes to prove that you can't keep a good man down. Vincent Price, as knowingly camp as ever, tips a nod and a wink to the audience through his portrayal of Byronic, romantic hero, Anton Phibes - a disfigured creature determined to re-vivify his dead wife (Victoria) and for both of them to live happily ever after throughout eternity.
Fair enough! Stopping him from achieving his goal are the usual suspects of devious businessmen, sly archaeologists and incompetent policemen. Through 1920s England and Egypt, Phibes pursues this goal, merrily dispatching all those who stand in his way through a truly ingenious catalogue of murderous mayhem.
What makes the movie superior to the original is that director, Fuest has used his knowledge of television production (he helmed some excellent 60s 'Avengers' episodes) to create an altogther realistically fantastical world played out in the normal sphere of everyday life. Therefore, whilst the sets are art-deco in style and incredibly inventive and playful, the murders are juxtaposed to the settings in a neat and carefully composed, almost romanticised view, of the world. For example, whilst the settings in the Egyptian desert are almost always stagebound, the settings within the pyramid which houses Phibes key to immortality, are incredibly detailed and beautiful to look at, engaging the viewers sense of aesthetics not normally called upon in early 70s horror. Overlapping this is the sheer delight found in the way the labyrynthine plot overcomes its shortcomings by allowing the viewer to identify with Phibes - primarily because of the first movie and the wish to see him survive.
Of course, the undeniable strength of the movie is the portrayal of Phibes by the always enigmatic Price. It is this familiarity of the actors playing that engages the viewer. Portrayed as a man searching for love at all costs, Phgibes is not a monster but a tragic and lonely figure, thus creating audience sympathy immediately.
That the last view of Phibes is of one of triumph indicates that perhaps a sequel was to be made. But, in hindsight, Phibes got the richly deserving send off that he so desparately wanted.
The movie really is a truly globe-trotting, almost Bond-like adventure. Despite the low budget, the movie does indeed look at times absolutely magnificent. The cinematography, the mise-en-scene, the lighting and music all combine with excellent direction and acting to provide the audience with a movie that could outshine all postmodern horror movies. It is one of the last truly great gothic outings that British cinema has provided.
MISS IT AT YOUR PERIL!
This follow up to 'The Abominable Dr Phibes' just goes to prove that you can't keep a good man down. Vincent Price, as knowingly camp as ever, tips a nod and a wink to the audience through his portrayal of Byronic, romantic hero, Anton Phibes - a disfigured creature determined to re-vivify his dead wife (Victoria) and for both of them to live happily ever after throughout eternity.
Fair enough! Stopping him from achieving his goal are the usual suspects of devious businessmen, sly archaeologists and incompetent policemen. Through 1920s England and Egypt, Phibes pursues this goal, merrily dispatching all those who stand in his way through a truly ingenious catalogue of murderous mayhem.
What makes the movie superior to the original is that director, Fuest has used his knowledge of television production (he helmed some excellent 60s 'Avengers' episodes) to create an altogther realistically fantastical world played out in the normal sphere of everyday life. Therefore, whilst the sets are art-deco in style and incredibly inventive and playful, the murders are juxtaposed to the settings in a neat and carefully composed, almost romanticised view, of the world. For example, whilst the settings in the Egyptian desert are almost always stagebound, the settings within the pyramid which houses Phibes key to immortality, are incredibly detailed and beautiful to look at, engaging the viewers sense of aesthetics not normally called upon in early 70s horror. Overlapping this is the sheer delight found in the way the labyrynthine plot overcomes its shortcomings by allowing the viewer to identify with Phibes - primarily because of the first movie and the wish to see him survive.
Of course, the undeniable strength of the movie is the portrayal of Phibes by the always enigmatic Price. It is this familiarity of the actors playing that engages the viewer. Portrayed as a man searching for love at all costs, Phgibes is not a monster but a tragic and lonely figure, thus creating audience sympathy immediately.
That the last view of Phibes is of one of triumph indicates that perhaps a sequel was to be made. But, in hindsight, Phibes got the richly deserving send off that he so desparately wanted.
The movie really is a truly globe-trotting, almost Bond-like adventure. Despite the low budget, the movie does indeed look at times absolutely magnificent. The cinematography, the mise-en-scene, the lighting and music all combine with excellent direction and acting to provide the audience with a movie that could outshine all postmodern horror movies. It is one of the last truly great gothic outings that British cinema has provided.
MISS IT AT YOUR PERIL!