Um Casamento Macabro

This is above all a fun horror film about two criminologists in the late 19th century Baltimore area(one decidedly English - Wilfred Hyde-White and the other decidedly Italian - Cesare Danova)working in a wax museum and uncovering crimes for/with the police. Apparently it was to be a pilot for a television series, and it is very unfortunate it never progressed that far. Hyde-White is always a treat and Danova is rather good too. This story deals with capturing Jason Cravatte - a local aristocrat with a fetish for girls in wedding gowns - dead or alive. Patrick O'Neal gives one of his best screen performances in the role of this psychotic, deranged killer who loses his hand and replaces it with all kinds of cutlery(ax, sword, scalpel, etc...) The film also boast the two gimmicks of the Fear Flasher when the screen will flash with green to let the viewer know something terrifying is about to happen and is preceded by the Horror Horn announcing its arrival. We are told in the beginning of the film that this will occur four times and none of those times are scary in the least bit. What makes this film work is the acting by Hyde-White, Danova, O'Neal, and people like Wayne Rogers as a constable, Jose Rene Ruiz as Pepe the dwarfish assistant, a cameo by Tony Curtis helps out, and all the acting is workmanlike and credible. Hy Averback , a television director of repute and ability, gives the film a very stylish feel with its Victorian-like atmosphere, swirling fogs, and seedy locales when needed. The wax museum itself is indeed impressive as well as is the denouement of the film. This "little" film - judging by its limited audience - is much better than one might at first expect given the gimmicks and story.

Jason Cravatte (Patrick O'Neal) forces a reverend at gunpoint to marry him and the dead body of Melinda Sawyer. The police is brought in but Jason had already escaped. Anthony Draco (Cesare Danova) and Harold Blount (Wilfrid Hyde-White) own a wax museum and consider themselves amateur detectives. The police searches throughout Baltimore for the disturbed killer.He is caught and sentenced to hang. He manages to escape from a train transport but he had to chop off his own hand. With his new hand replacement, he takes revenge upon those who wronged him.

This is an old horror with a gimmick. At the beginning, the narrator explains the Fear Flasher and Horror Horn would precede the most horrific scenes. That is the best part of the movie. It's campy and fun in treating it seriously. The actual use of the gimmick does not do much. The grotesque violent scenes are not so shocking especially with modern horror eyes. There is blood but the camera cuts away before the actual violence. The story starts interesting but it flounders in the second half. The characters don't have the special interest and the actors are not the most charismatic. It's a passable bland old horror with a cheesy gimmick which is more fun in the imagination than it is in reality.

Borrowing a page from the playbook of producers like William Castle, Al Adamson, Nicholson and Arkoff at AIP and the like, this was a lot of fun for me as a kid with the hokey gimmicks of the "Fear Flasher" and the "Horror Horn" added to prevent the more squeamish members of the audience from dying of sheer fright, (the goosebump-inducing voice of the Narrator in the "Instructional" sequence was none other than CANNON himself, William Conrad, who actually directed one of these horror potboilers for Warner's, the Dean Jones/Connie Stevens starrer TWO ON A GUILLOTINE.)

This rehash of the definitely superior HOUSE OF WAX with Vincent Price, gives us the grisly tale of serial strangler Jason Cravette (Patrick O'Neal in a bravura performance), who is finally caught literally red-handed as he ritualistically weds and beds his latest victim, ex mortis.

His subsequent escape and its gory consequences, (he goes from being caught red-handed to losing one of them), becomes the fodder for a sensational museum of mass murderers run by suave local entrepreneur Anthony Draco (Cesare Danova, one of Warner's second-tier matinee idols.) Once worried about operating in the red, soon Draco and his associates, the marvelous Wilfrid Hyde-White and diminuitive sidekick Tun-Tun (the 'Mini-Me' of his day) are back in business, as the slippery Cravette gives our heroes and the local authorities more red than they know what to do with, cutting a vengeful swath through the ranks of all those responsible for his near-incarceration.

Hy Averback keeps all the right balls in the air with a speedy and sure sense of direction, and there's much delightful interplay between the lead characters, especially Danova and Hyde-White. Look closely and not only will you see Tony Curtis in an uncredited cameo, but a baby-faced Wayne Rogers as well, as a very unlucky constable (whom Averback would direct years later in episodes of TV's M*A*S*H...talk about six-degree associations!)

With the lush photography provided by master d.p. Richard Kline, and a score by William Lava that reminds us that he wasn't just at Warner's to provide soundtracks for Bugs Bunny and the Road Runner, this was about as classy as genre-B pics could get for the mid-'60's, not discounting the efforts of A.I.P. with the Price/Poe films. Not available in any medium that I'm aware of, you'll have to keep your eyes peeled on AMC or TNT late night to catch this worthy rarity.

There's a lot to like in CHAMBER OF HORRORS, if you can forgive the copycat style that makes it look like a rip-off of HOUSE OF WAX at times. But the plot, involving a killer (Patrick O'Neal) taking revenge on those who punished him for his crimes, moves swiftly amid some handsome color settings and should keep fright fans interested. O'Neal is very persuasive in the central role.

Less can be said of others in the cast--including Marie Windsor who is mainly wasted in a supporting role, Suzy Parker whose role has no depth at all and Patrice Wymore.

Laura Devon is a stunning blond beauty and makes the most of her decorative assignment as the woman who sets up the men targeted for gruesome killings. The wax museum itself is an intriguing setting but the script is not up to the standards of the Vincent Price film with a somewhat similar storyline. Wilfrid Hyde-White and Cesare Danova are effective enough as the men who want to trap the killer.

Recommended mainly for its excellent use of Victorian atmosphere and crisp, clear Technicolor.

Police inspectors in 1880s Baltimore seek the assistance of two "amateur" criminologists--who are about to open a wax museum devoted to history's most notorious murderers!--to track down an escaped killer who has a fetish for blondes. The maniac is eventually caught but escapes captivity, chopping off his own right hand in the process. Handsomely-produced and shot thriller from Warner Bros. was originally meant as the pilot for a proposed "House of Wax" TV series. The fright warning gimmicks at the beginning owe a small debt to William Castle, while the wax museum milieu owes a little extra to Vincent Price. The B-cast glides through it bemusedly, while the film's technical elements (from the costumes and music scoring to Richard Kline's cinematography) are top-notch. There's even a movie star cameo included for fun. ** from ****