Theater of Blood
|
List Price: Our Price: $11.96 You Save: $3.02 (20%) Availability: Usually ships in 1-2 business days Buy Used: from $3.63 (click here) Category: DVD See more DVD releases |
|---|
Buy this DVD movie at online store in your country
Canada
Canada
Movie Reviews of Theater of Blood
Movie Review: Wonderful Movie!!
Summary: 5 Stars
This is a super movie. Vincent Price at his best. This is one of my favorite films starring Vincent Price. I have this movie on VHS & DVD. If you have not seen this film I suggest renting it or buying it.Movie Review: "Theater of Blood" Movie
Summary: 5 Stars
I really enjoyed watching the "Theater of Blood" movie. I am so glad I was able to buy the DVD version of this movie. Vincent Prince shines in this movie.Movie Review: Wickedly Funny!
Summary: 5 Stars
Black Humor at its Best! Vincent Price has NEVER been Funnier (and seldom Bloodier). If You want a WICKED (in Every sense of the Word) Laugh, This is It!Movie Review: wonderfully wicked-fun black comedy
Summary: 4 Stars
Although Theater of Blood is not so much a horror film as a suspense/black comedy, it keeps getting cited in horror film references. This is probably due to the presence of Vincent Price. If Theater of Blood had nothing else going for it, Price's performance alone would make it worthwhile.
But Theater of Blood also has ... blood. Blood aplenty. And class, and style, and pathos, and hilarious black comedy, and ... Vincent Price.
In the film, Price portrays Edward Lionheart, a hammy, egomaniacal Shakespearean actor who fails in a suicide attempt after being passed over for a Critic's Circle award, then uses his second chance at life to kill his critics by methods drawn from Shakespeare's plays.
Opening credits play over old silent film footage of Shakespearean actors. While nothing in Theater of Blood indicates that Lionheart ever worked in film (it's stated he never performed anything other than Shakespeare), Lionheart, like Norma Desmond, belongs to an earlier era. Lionheart predates the rise of The Method in the 1950s, with its "naturalistic" acting style often derided by practitioners of "classical theatrical style" as producing actors who dressed dirty and mumbled incoherently. (Marlon Brando and James Dean were accused of such). Lionheart accuses his critics of denying him the award to give it to a youth "who can barely grunt his way through an incomprehensible performance."
Lionheart's egomania shows when he kills one critic by cutting out his heart, thereby altering The Merchant of Venice. Lionheart's arch-foe, critic Peregrine Devlin (Ian Hendry), remarks, "Only Lionheart would have the temerity to rewrite Shakespeare." Not having a son to christen Edward Jr, Lionheart names his daughter Edwina (Diana Rigg). That Lionheart wanted a son is implied by Edwina's usual disguise of male clothing and mustache, by her incessant (insecure) desire to please him, and by finally dying happily in his appreciative arms, happy to have served him well.
A darkly comic commentary on the shared egomaniacal roots of artists and political activists is drawn when Lionheart concludes a thunderous oratory to his ragged street devotees, followed by a recording of a speech by Hitler (a former artist) inadvertently played on Lionheart's applause machine.
Theater of Blood depicts an actor's exaggerated view of critics. They can afford expensive homes and lavish offices, exploit young actresses for sex, and expend more effort in writing clever insults than in staying awake to see a complete play. They enjoy hurting actors. Devlin confesses to the detective inspector that when Lionheart broke into the Critic's Circle meeting after losing the Best Actor Award, they had fun at his expense.
Critics are twice criticized for their abuse of power. Once when the detective inspector suggests possible motivations as to why someone may want to kill them. A second time when Lionheart justifies his murders to Devlin. In both instances, the point is made that a negative review can close a production, ruin reputations, bankrupt people, destroy lives. Few, if any, critics have such power today (perhaps more so in theater than in film, more so in Britain than in the U.S.). But to insecure actors in an insecure profession, reviews take on exaggerated importance.
If Lionheart is an egomaniac, his critics are worse. They too have egos, but they lack Lionheart's cunning intelligence and perverse imagination. One lecherous old man readily accepts that a young actress (Edwina) is flirting with him. Another is unsuspicious when Lionheart selects him alone to report the exclusive story of Lionheart's comeback. Another sees nothing amiss with a TV crew arriving unannounced at his house, himself the center of attention. Another shrugs off Princess Margaret's hairdresser coming in after-hours, especially for her. Another agrees to help police toss out squatters, because the police need someone with an air of authority (something the police lack!). All traps by Lionheart, all successful because these critics' egos block their brains.
The one critic who survives is Devlin, who doesn't trust Edwina's pretty, frightened daughter act. Devlin tells her there is a homing device in the car's glove compartment, but not about the police constable in the trunk. He is also the only critic of those given time to recant, who refuses to change his critical opinion of Lionheart's abilities (others deny their past comments or agree to everything Lionheart says).
There is a nascent astrology motif. One critic's wife cautions him about his horoscope. Another critic wears a huge gold Scorpio medallion around his neck. Most likely, this is merely reflecting the times.
Theater of Blood's gruesome murders are leavened with campy black comedy. Even as Lionheart decapitates one critic, he rolls eyes at Edwina's theatrical handling of medical instruments. And his forcing one effete critic (Robert Morley) to eat his poodles, baked in a pie, is a classic scene of horror black comedy.
Theater of Blood is a sumptuous production with lavish sets and costumes. Extreme high and low camera angles heighten the melodrama. The sudden switch from a straight-on to extreme high angle just as the critics open the drapes to view Lionheart about to jump off the balcony creates a sense that we are looking down on a stage with the curtain opening upon a performance. Anthony Greville-Bell's literate script artfully integrates select Shakespearean dialogue into contemporary proceedings that are alternatingly macabre, comic, or poignant. The musical score supports the story, shifting from gentle to dramatic as required, without ever overwhelming events on screen. However melodramatically the music swells, Lionheart matches it. Vincent Price shines.
A year later, tables were turned on Price in Madhouse (aka The Revenge of Doctor Death). In this film, Price is a has-been horror film star victimized by frustrated writer Peter Cushing. Yet while vengeful writers have their own subgenre, Theater of Blood's enduring fame compared to Madhouse's relative obscurity demonstrates why actors get the glory while writers more often toil in anonymity. Lionheart's extroverted exuberance, shameless scene-stealing, and indestructible ego is a crowd-pleaser, easily steamrollering over the vengeance meted out by cool Cushing's introverted writer. As the tabloids have long known, actors make for colorful villains, which is why they get the cover while writers must settle for a byline.
Theater of Blood is bloody good entertainment: horrific, insightful, and wryly humorous.
Movie Review: Death Wins Not o'er Lionheart; 'Tis Curtains for His Critics
Summary: 4 Stars
Hammy Shakespearean actor Edward Lionheart (Vincent Price) has been relentlessly denounced and vilified in the reviews of his performances, so with help from his daughter Edwina (Diana Rigg), he fakes his death and then sets in motion his grisly plans for revenge. One by one, he murders his most vociferous critics, but his technique isn't that of a common street thug, oh no. Instead, Lionheart patterns each killing after one of the various murders described in The Bard's plays!Many real-life critics have tried to minimize the importance or quality of 1973's THEATRE OF BLOOD by pointing out its similarities to Price's earlier flick THE ABOMINABLE DR. PHIBES (1971). While it is certainly true that both films seem to have been cast from the same mold--in the 1971 film, Dr. Phibes exacts revenge by patterning his homicides after the great plagues in the Bible--that doesn't detract in the least from overall enjoyment of watching this flick. The clever script contains tons of funeral-parlor puns and lots of gallows humor, and the stellar cast brings it all off wonderfully. Star Vincent Price is allowed to draw upon his Shakespearean stage experience and vigorously chew the scenery, but this is judiciously tempered with an excellent but more restrained supporting cast that includes the pretty Diana Rigg, Ian Hendry, Milo O' Shea, Eric Sykes, and countless other well-known British character actors.
The DVD from MGM--part of their excellent "Midnite Movie" series, which rescues lots of gems like this from the dungeon of late-night TV--offers a reasonably nice digital transfer of the film in its original aspect ratio of 1.66:1. Some buyers have complained that the picture is a bit washed and the sound a bit muffled, but the copy of the flick on this disc is light-years ahead of any copy previously available on VHS. The only extra is the original trailer. But this DVD is so reasonably priced that one can't complain too much--especially if one wants to avoid the wrath of Edward Lionheart, eh?
Okay, THEATRE OF BLOOD is admittedly a one-joke movie, but it's all carried out in such an amusing and clever way that viewers are NEVER bored. Watching it is a must for fans of campy horror and gallows humor, and it's a must-own for fans Vincent Price or Diana Rigg. In truth, genuine horror fans will have no regrets about adding this DVD to their collections.