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Theater of Blood -
This movie is as audacious as it is hilarious. In a role that is as much of a gift to a performer as it would be to let Tom Hanks play a history professor specializing in NASA and World War II, Vincent Price plays Edward Lionheart, a presumed dead Shakespeare actor who comes out of hiding to vanquish critics who denied him a best actor trophy. Like Price's best roles, it's one that lets him be devilish and charismatic in equal measure and that allows for maximum scenery chewing. Even so, like the best villain and antihero roles, the movie also makes him sympathetic. The '70s were no friend to the UK's economy, so it was inspired to make the audience root for Lionheart by making him seem like one of its victims. His allies consist of London's destitute and homeless while his prey plot and scheme in an ostentatious penthouse and behave like the kind of upper class twits Monty Python lampooned. They include British character performers like Ian Hendry and Robert Morley who are just as much of a joy to watch as Price, and on top of that, Diana Rigg is along for the ride as Lionheart's daughter. The movie is also a feast for the eyes thanks to the grandiose camerawork of Wolfgang Suschitzky - father of also-great cinematographer Peter Suschitzky - and for its use of real London locations instead of sets. The movie has twists and turns here and there, and while they are good, do not expect anything more complex from the plot beyond my description. Still, as soon as the rational part of my brain said "I guess I'm in for another murder scene," the movie surprised me by how elaborate and funny it makes each one. Not to mention, if you're a Shakespeare buff, you'll enjoy them even more for the references they contain. Like I said, Edward Lionheart is as much of a gift of a role to any one performer you could imagine. Regardless, as this fan attests, the movie is just as much as a present to those who love Price's work.
This movie is as audacious as it is hilarious. In a role that is as much of a gift to a performer as it would be to let Tom Hanks play a history professor specializing in NASA and World War II, Vincent Price plays Edward Lionheart, a presumed dead Shakespeare actor who comes out of hiding to vanquish critics who denied him a best actor trophy. Like Price's best roles, it's one that lets him be devilish and charismatic in equal measure and that allows for maximum scenery chewing. Even so, like the best villain and antihero roles, the movie also makes him sympathetic. The '70s were no friend to the UK's economy, so it was inspired to make the audience root for Lionheart by making him seem like one of its victims. His allies consist of London's destitute and homeless while his prey plot and scheme in an ostentatious penthouse and behave like the kind of upper class twits Monty Python lampooned. They include British character performers like Ian Hendry and Robert Morley who are just as much of a joy to watch as Price, and on top of that, Diana Rigg is along for the ride as Lionheart's daughter. The movie is also a feast for the eyes thanks to the grandiose camerawork of Wolfgang Suschitzky - father of also-great cinematographer Peter Suschitzky - and for its use of real London locations instead of sets. The movie has twists and turns here and there, and while they are good, do not expect anything more complex from the plot beyond my description. Still, as soon as the rational part of my brain said "I guess I'm in for another murder scene," the movie surprised me by how elaborate and funny it makes each one. Not to mention, if you're a Shakespeare buff, you'll enjoy them even more for the references they contain. Like I said, Edward Lionheart is as much of a gift of a role to any one performer you could imagine. Regardless, as this fan attests, the movie is just as much as a present to those who love Price's work.