House of Wax
Theatrical release poster
Directed by	Andre de Toth
Screenplay by	Crane Wilbur
Based on	"The Wax Works" by Charles Belden
Produced by	Bryan Foy
Starring	Vincent Price Frank Lovejoy Phyllis Kirk Carolyn Jones Paul Picerni
Cinematography	Bert Glennon Peverell Marley
Edited by	Rudi Fehr
Music by	David Buttolph
Distributed by	Warner Bros.
Release dates	April 10, 1953 (1953-04-10) (New York)[1] April 25, 1953 (1953-04-25) (US)
Running time	88 minutes
Country	United States
Language	English
Budget	$1 million[2]
Box office	$23.75 million

House of Wax is a 1953 American mystery-horror film directed by Andre de Toth and released by Warner Bros. A remake of the studio's own 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 corpses as displays. 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. Man in the Dark, released by Columbia Pictures, was the first major-studio black-and-white 3D feature and premiered two days before House of Wax.

In 1971, House of Wax was re-released to theaters in 3D with a full advertising campaign. Newly struck prints of the film in Chris Condon's single-strip StereoVision 3D format were used for this release. Another major re-release occurred during the 3D revival of the early 1980s. Warner Bros. released a loose remake of the film in 2005.

The Library of Congress later selected the film for preservation in the National Film Registry in 2014, deeming it "culturally, historically, or aesthetically significant".^[3][4]

In New York City during the early 1900s, talented sculptor Professor Henry Jarrod runs a wax museum that features figures of historical figures that met grisly demises. His business partner, Matthew Burke, is frustrated over Jarrod refusing to make more sensational exhibits, like those that draw crowds to their competitors, and wants to end their partnership. Wealthy art critic Sidney Wallace arrives to see the museum and indicates he is interested in buying Burke out when he gets back from Egypt in three months. Impatient, Burke sets the museum on fire to collect the insurance money. Jarrod attempts to stop Burke and save his life's work, but Burke douses him in kerosene and leaves him to die in the fire.

After Burke acquires the insurance money, a disfigured man in a cloak strangles him and stages the murder as an act of suicide. A few weeks later the cloaked man murders Burke's fiancée, Cathy Gray. Her unemployed roommate, Sue Allen, stumbles upon the murderer before he can finish arranging the scene and escapes, running to her friend Scott Andrews' home. That night, the murderer steals Cathy's body from the morgue.

Wallace meets with Jarrod, who miraculously survived the fire. Jarrod is now bound to a wheelchair and his hands are crippled, leaving him unable to sculpt. Jarrod asks Wallace to invest in his new wax museum, which will feature statues made by his assistants, deaf and mute Igor and alcoholic Leon Averill. He concedes to popular taste by including a chamber of horrors showcasing recent acts of violence, including Burke's apparent suicide.

Sue attends the grand opening of the museum with Scott and is troubled by how the Joan of Arc wax figure resembles Cathy. Jarrod overhears her and claims he based the figure on photos of Cathy he saw in the newspaper. He hires Scott, who is a sculpting protégé of Wallace, as an assistant and asks Sue to model for a new Marie Antoinette wax figure, as she strongly resembles his earlier one. Sue tells police Detective Lieutenant Tom Brennan that the Joan of Arc has exactly one ear pierced, an oddity shared by Cathy, and one which she does not believe would be discernible from a newspaper photo. He agrees to investigate Jarrod and his museum. Sergeant Jim Shane recognizes Averill as Carl Hendricks, who is wanted for breaking parole. Averill is taken in by Shane, and found in possession of a pocketwatch belonging to a missing deputy city attorney.

The same night, Sue arrives at the museum after hours to meet with Scott, but Jarrod sent him on an errand when he heard she was coming. Finding the place unoccupied, she pulls off the Joan of Arc figure's wig, exposing Cathy's hair underneath. She realizes that the figure is Cathy's wax-coated corpse. Jarrod observes her discovery and gets up from his wheelchair, revealing he can walk with a slight limp. Sue strikes him, breaking off a wax mask concealing his disfigured face that identifies him as the murderer, and faints in shock. Jarrod heats wax to make her into his Marie Antoinette sculpture.

Scott returns and tries to save Sue, but is subdued by Igor. The police draw the whole story out of Averill by withholding alcohol from him. Averill tells them Jarrod was driven mad by the museum fire, and many of his new wax figures are actually the corpses of his victims coated in wax, including Burke. They race to the museum and arrive just in time to stop Igor from decapitating Scott using a guillotine display. The police break into Jarrod's workshop. Jarrod fights them off single-handedly but is knocked into the vat of hot wax. Brennan pulls away the table Sue is bound to before the wax can spill over her.

Filmed under the working title The Wax Works, House of Wax was Warner Bros.' answer to the surprise 3D hit Bwana Devil, an independent production that premiered in November 1952.^{[citation needed]} Seeing promise in the future of 3D films, Warner Bros. contracted Julian and Milton Gunzburg's Natural Vision 3D system, the same one used for Bwana Devil, and decided to film a remake of their 1933 two-color Technicolor thriller Mystery of the Wax Museum, which was based on Charles S. Belden's three-act play The Wax Works. Although the entire newspaper angle of the earlier film was eliminated and Mystery was set in the year it was released, whereas House of Wax was set in circa 1902, the two films have many similarities in plot and dialogue.

Among the foregrounded uses of 3D in the film were scenes featuring fights, can-can girls, and a paddle ball-wielding barker. In what may be the film's cleverest and most startling 3D effect, the shadowy figure of one of the characters seems to spring up out of the theater audience and run into the screen. As director Andre de Toth was blind in one eye, he was unable to experience stereo vision or 3D effects. Vincent Price recalled: "It’s one of the great Hollywood stories. When they wanted a director for [a 3D] film, they hired a man who couldn’t see 3D at all! André de Toth was a very good director, but he may not have been suited to direct a 3D movie. He’d go to the rushes and say 'Why is everybody so excited about this?' It didn’t mean anything to him. But he made a good picture, a good thriller. He was largely responsible for the success of the picture. The 3D tricks just happened—there weren’t a lot of them. Later on, they threw everything at everybody."^[5] Some modern critics feel de Toth's inability to see depth is what makes the film superior since he was more concerned with telling a thrilling story and getting believable performances from the actors than simply tossing things at the camera.^{[citation needed]}

The film premiered in Los Angeles at the Paramount Theatre on April 16, 1953. It played at midnight with a number of celebrities in the audience, Broderick Crawford, Gracie Allen, Eddie Cantor, Rock Hudson, Judy Garland, Shelley Winters, and Ginger Rogers among them. Producer Alex Gordon, knowing actor Bela Lugosi was in dire need of cash, arranged for him to stand outside the theater wearing a cape and dark glasses and holding a leash with actor Steve Calvert in a gorilla suit on the end. Lugosi was interviewed by reporter Shirley Thomas, who thoroughly confused the aging star when she asked the prearranged questions out of order, and, embarrassed, he left without attending the screening. Footage of Lugosi in front of the theater appeared in a Pathé Newsreel released in theaters on April 27, 1953.^[6]

Topping the box office charts for five weeks^[7] and earning an estimated $5.5 million in rentals from the North American box office alone, the film was one of the biggest hits of 1953.^[8] It was originally available with a stereophonic three-track magnetic soundtrack to accompany its stereoscopic imagery, though many theaters were not equipped to make use of it and defaulted to the standard monophonic optical soundtrack. Previously, films with stereo sound were only produced to be shown in specialty cinemas, such as the Toldi in Budapest and the Telecinema in London.^[9][10] As of 2013, no copy of the original three-channel stereo soundtrack is known to exist, and only the monophonic soundtrack and a separate sound-effects-only track are believed to have survived, but a new stereo soundtrack has been synthesized from the available source material.^{[citation needed]} The initial 3D screenings of the 88-minute film included an intermission, which was necessary to change the reels because each of the theater's two projectors was dedicated to one of the stereoscopic images.^[11]

Early reviews of the film were mostly mixed to negative. Variety was positive, writing: "This picture will knock 'em for a ghoul. Warners' House of Wax is the post-midcentury Jazz Singer. What the freres and Al Jolson did to sound, the Warners have repeated in third dimension."^[12] Harrison's Reports called the film "a first-class thriller of its kind", and "the best 3-D picture yet made", though the reviewer felt that "the added value of depth is not significant enough to warrant the annoyance of viewing the proceedings through the polaroid glasses, and that the picture would have been as much of a chiller if shown in the standard 2-D form, and probably even a greater thriller if shown on a wide screen."^[13] The Monthly Film Bulletin wrote that, as a 3D film, it was "a smoother effort than its predecessors, obviously made with more care and less tiring to the eyes", but that, "[i]n all but technical respects, the film is a childish and inept piece of work."^[14]

Bosley Crowther of The New York Times found the film "disappointing", writing: "This picture, apart entirely from the fact that it is baldly, unbelievably antique in its melodramatic plot and style, shows little or no imagination in the use of stereoscopic images and nothing but loudness and confusion in the use of so-called stereoscopic sound. The impression we get is that its makers were simply and solely interested in getting a flashy sensation on the screen just as fast as they could."^[15] Richard L. Coe of The Washington Post wrote: "It's supposed to be a horror movie and it's horrible alright... The novelty has some appeal especially through its long shots into depths, but there is also a feeling of limitations once what novelty there passes. Then it is we go back to the gaga script devised by Crane Wilbur from a story which served one of the early talking films and one is inclined to shudderingly ask: Are we to go through all that again?"^[16] John McCarten of The New Yorker also hated the film, writing that he thought it had "set the movies back about forty-nine years. It could have set them back further if there had been anything earlier to set them back to", and concluding that "when Mr. Price started clumping around and choking ladies with knots that wouldn't pass muster at a Cub Scout meeting, I took off my glasses once and for all, put on my hat, and left."^[17]

This section needs expansion. You can help by adding to it. (July 2018)

On review aggregator website Rotten Tomatoes, the film has an approval rating of 93% based on 44 reviews and an average score of 7.5 out of 10. The site's "critics consensus" reads: "House of Wax is a 3-D horror delight that combines the atmospheric eerieness of the wax museum with the always chilling presence of Vincent Price."^[18]

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2016) (Learn how and when to remove this message)

House of Wax revitalized the film career of Vincent Price, who had been playing secondary character parts and occasional sympathetic leads since the late 1930s. After this high-profile role, he was in high demand for the rest of his career to play fiendish villains, mad scientists, and other deranged characters in genre films. The following year, Columbia Pictures hired House of Wax writer Crane Wilbur to pen the script for their attempt to capture the 3D craze alongside Price as star with The Mad Magician (1954). Price would go on to star in genre films such as The Tingler (1959), The Masque of the Red Death (1964), and The Abominable Dr. Phibes (1971). Supporting actress Carolyn Jones, who had her first credited role in House of Wax, gained a much higher profile more than a decade later when she played Morticia Addams in the TV comedy horror spoof The Addams Family.

The film was released in 2D on DVD by Warner Home Video on August 5, 2003. This release included Mystery of the Wax Museum as a bonus. A 3D Blu-ray disc of the film was released in the U.S. on October 1, 2013, to celebrate its 60th anniversary. Like the earlier DVD, the Blu-ray includes Mystery of the Wax Museum as a bonus (in standard definition).^[19] A reissue of this format was released through the Warner Archive Collection on June 23, 2020.^[20]

• Mystery of the Wax Museum – the 1933 film of which House of Wax is a remake
• House of Wax – a 2005 film that is a loose remake of House of Wax
• Terror in the Wax Museum – a 1973 film
• Waxwork – a 1988 film
• List of 3D films of the era
• Vincent Price filmography

Wikiquote has quotations related to House of Wax (1953 film).

• House of Wax essay by Jack Theakston on the National Film Registry website
• House of Wax at IMDb
• House of Wax at AllMovie
• House of Wax at the TCM Movie Database
• House of Wax at the AFI Catalog of Feature Films
• House of Wax at 3D Expo - with Paul Picerni Q&A at Hollywood Gothique
• Cinefantastique retrospective article