The voice of Thriller is back!
The distinctive, iconic voice of Vincent Price can be heard once again on a new 12″ EP featuring a never-before-released recitation of Edgar Allan Poe’s The Conqueror Worm fused with a pulsating electronica score from London-based electronica outfit The Core.
Pressed on coloured vinyl with artwork designed by celebrated illustrator Graham Humphreys, this Limited Edition EP (300 units) is now available to order directly from our VP shop on this site for only £14.99 (excluding postage). One copy per customer.
As we usher in 2019, I just want to thank you all for making 2018 one of the best years celebrating Vincent Price’s enduring legacy.
It all kicked off last spring when a group of us spent the weekend of 21 and 22 April in Suffolk and East Anglia exploring the original film locations used in Witchfinder General, which celebrated its 50th anniversary in 2018.
Lots of new friends were made during our adventures that coincided with Ian Ogilvy (one of the film’s stars) visiting London. While he wasn’t able to join us (but hopes to in the future), he kindly signed the fantastic souvenir poster designed by Graham Humphreys that was given out at the end of the tour to each of the attendees.
By popular demand, our annual walking tour of the Theatre of Blood London film locations returned in the summer, with 30 attendees (our biggest group yet) taking all manner of transport on Saturday July 28 to different parts of London as we sought out some of the most iconic sites used in the black comedy horror.
This year we visited Kensal Green Cemetery, one of the key locations, and also returned to some of old favourites, including Meredith Merridew’s house in Putney and the old shipyard in Brentwood where Edward Lionheart is plucked out of the Thames by the meth drinkers. It was a great day, blessed with great weather again (I think Vincent was looking out for us).
2018 marked the 90th-anniversary of Vincent Price’s Grand Tour of Europe. As such, Victoria Price and myself wanted to honour her dad’s trip by exploring a bit of Europe ourselves as one of our ESC Tours excursions.
Austria and Germany were our destinations and our group had an amazing time in the first week of October visiting Vienna, Salzburg and Munich, with side trips to Colmar in France and Liechtenstein.
Highlights included Burg Kreuzenstein near Vienna (which was used in Mario Bava’s House of Wax homage, Baron Blood), the awe-inspiring ice caves in Werfen, and the Whale House in Frieberg (whose frontage was recreated as for the Dance Academy in Dario Argento’s Suspiria). Plus, we all got a private tour of the real-life Castle Frankenstein near Frankfurt.
Next year, we shall continue following in Vincent’s European footsteps with a trip to Amsterdam and Paris, and we’d love you to join us.
November was a very busy time as Victoria Price returned to the UK for a number of engagements, including a first time visit to Darlington to introduce Pit and the Pendulum at the local film club there and a return to Birmingham, where she accepted a Lifetime Achievement Award on behalf of her dad at the annual Cine Excess conference. This was also attended by Pete Walker, who directed Vincent in House of the Long Shadows.
Our Birmingham trip also included a screening of Theatre of Blood at the Mockingbird Cinema where Victoria wowed the audience with her recollections of her dad making the film back in 1972.
Back in London, Victoria conducted an inspiring talk at the fantastic Cinema Museum hosted by the wonderful Misty Moon gang and also took on another role – as an ordained interfaith/interpsiritual minister – to conduct a wonderful wedding for our dear friends Roni and Stu, who chose Somewhere Over the Rainbow, sung by Vincent, to end the proceedings. Now that was a truly touching moment that will stay with me forever.
We capped off 2018 with our Yield Up the Mystery Weekender, which sought out places in Norfolk where the spiritual and the spooky connected. It took us from King’s Lynn to Norwich and onto Long Melford in Suffolk via the fabulous ruins of Castle Acre Priory, the original film location used in Tomb of Ligeia. Big thanks again to Graham Humphreys, who conjured up another fantastic souvenir poster for our attendees.
***** COMING IN 2019 *****
So what’s coming up in 2019? Well Victoria and I are putting the final touches of our Amsterdam-Paris excursion that will take place from Saturday 25 May to Sunday 5 June. We will only be taking a small group, so if you want to join us, please sign up to the ESC Tours website. We shall release full pricing and a schedule in early January.
And if you have ever wanted to spend Halloween in New York, then you’re in luck as Victoria and I will also be conducting a guided tour of the Big Apple in late October/early November. We are currently putting that itinerary together also, which will have a suitably spooky theme, so expect some ghosts, ghouls, the headless horseman and a touch of Price and Poe.
I shall, of course, be conducting another Theatre of Blood walking tour in the summer and another Witchfinder General weekender in the autumn. I have also got a few suprises in store during 2019, with the first one coming in February.
This will be the release of a brand-new limited edition EP by London band The Core featuring Vincent Price reciting Edgar Allan Poe’s The Conqueror Worm (from a rare recording never released before). Only 300 copies will be available, and the EP features another amazing cover design by Graham Humphreys. Here’s a first look at it…
This is going to be a must-have collectors item, so if you want to bag yourself a copy then do sign up to the Vincent Price Legacy UK newsletter (if you haven’t already) as subscribers will be first in the queue about the release and also will get first preference to join our other Legacy events.
Thank you all for making 2018 such a Vin-tastic year. Here’s to an even better 2019!
Happy New Year everyone!
Vincent Price Legacy UK
Back in October 2012, Little Shoppe of Horrors editor Richard Klemensen dedicated Issue 29 to tell the ‘definitive history’ of director Robert Fuest’s cult classic The Abominable Dr Phibes, starring Vincent Price in one of his most iconic movie roles. It was a revelation, featuring Phibesologist Justin Humphreys’ phan-tastic feature, The Kind of Fiend Who Wins, which was packed with detailed information about the making of the film, from its story genesis to its hugely successful cinema release.
This beautifully-designed issue also included Humphreys’ essay on the film’s art director Brian Eatwell, alongside David Taylor and Sam Irvin’s well-researched feature The Unphilmed Phibes, which exhumed all the lost Phibes movies, and Bruce Hallenbeck’s informative article on the making of the sequel, Dr Phibes Rises Again, and contributions from cult film writers Denis Meikle, David Del Valle, Derek Botello, and many more. Plus, it had special introductions from Tim Burton and Frank Darabont.
I so love this issue and have returned to it countless times – especially for the many behind-the-scenes photos and artwork, as well as the interesting sidebar features that included the hunt for Phibes’ Rolls Royce, a review of the original LP Soundtrack, as well as tributes to the two actresses who played Vulnavia, Virginia North and Valli Kemp.
Fast-forward to 2018 and Humphreys, who works as a film historian at the Academy Museum of Motion Pictures, has revived his original essay for this new paperback book from Bear Manor Media. Now the big question for anyone who already has the LSoH celebration issue is – ‘Is it worth getting?’
On the plus side, and it’s a big plus, you get expanded versions of Humphreys’ The Kind of Fiend Who Wins and the Taylor/Irvin contribution, The Unphilmed Phibes, both of which include extra bits added from interviews with screenwriters William Goldstein and James Whiton, sound designer Peter Lennard, actress Fiona Lewis, and many others.
There’s a Foreward from Dr. Phibes’ creator, William Goldstein, and also new conversations with organist Nicholas Kynaston (who played the War March of the Priests title track), Dr Phibes Rises Again composer John Gale, and screenwriter Lem Dobbs. Plus, longer versions of Humphreys’ previously published articles on Brian Eatwell and his wonderful tribute to Bob Fuest, which originally appeared in Video Watchdog, Issue 168.
Humphreys has also written an informative essay on the making of Dr Phibes Rises Again, using interviews from a variety of sources, which can be found in the extensive bibliography in the front of the book. Plus, there’s two short pieces by Phibes enthusiast Mark Ferelli, including one about his amazing magic lantern show which I was lucky to have seen at London’s Horse Hospital back in 2005.
On the negative side, the book lacks the stunning design of LSoH, with a number of blank pages that could have easily been filled with more photos or some of the previously published sidebar features, as well as a couple of typo errors. A big selling point for me was the opportunity to see never-before-seen production artwork by Fuest from his personal shooting script as well as previously unpublished behind-the-scenes photographs. Well, there are only three scans of the shooting script (I would have like to have seen more), but there are some rare images not published before on offer, including James Whiton’s photos from the world premiere.
But aside from those couple of niggles what shines through is Humphreys’ incredible passion for the Phibes films and his admiration for Bob Fuest, whom he befriended while conducting his research. It’s what makes this book a phan-tastic companion to the LSoH celebration issue. Oh, and its thanks to reading this book that I have now tracked down a copy of the Great Organ Works LP, which not only contains Nicolas Kynaston’s rendition of War March of the Priests, but also his Toccata and Fugue in D Minor, which opened Amicus’ 1972 anthology Tales from the Crypt. Win win! I say!
Inspirational speaker and author Victoria Price will be a special guest at Birmingham’s Cine Excess cult film event that runs 8th – 10th November, which will honour her father’s work in film as well as his culinary skills.
A short season of Vincent’s films will be screened alongside a cookery demonstration based on some of the favourite recipes from his legendary book ‘A Treasury of Great Recipes’.
Victoria is also set to be presented with the Cine Excess Lifetime Achievement Award on behalf of her father on Friday 9th November.
Xavier Mendik , founder and organiser of Cine Excess says, “We are really excited mount this special celebration of Vincent Price’s career as part of our 12th annual event. Having previously hosted director Roger Corman who collaborated with Vincent Price on so many classic horror movies from the 1960s, it seemed entirely appropriate to dedicate this year’s event to such an iconic actor on the 50th anniversary of his chilling performance in Witchfinder General.”
Alongside Victoria, this year’s festival also hosts a visit by the British horror director Pete Walker, who worked with the Vincent on House of the Long Shadows (1983). Pete Walker will be presented with this year’s second Cine Excess Lifetime Achievement Award for his lifelong career in film, including Die Screaming Marianne (1971), Frightmare (1974) and the notorious House of Whipcord (1974). Pete Walker is also scheduled to appear at the event on Friday 9th November.
The theme of this year’s Cine Excess XII is ‘I Know What You Starred in Last Summer: Global Perspectives on Cult Performance’, with international academics presenting a wide range of related discussions alongside a specially curated selection of public film screenings and talks.
A full list of screening and events will be announced soon.
For more information on: www.Cine-Excess.co.uk
About Victoria Price
Victoria Price brings her unique story to the national and international stage as an author, inspirational speaker, blogger, designer, artist & art consultant, and interspiritual & interfaith minister.
Following in her father’s footsteps, Victoria has become a popular speaker on a wide range of inspirational topics, as well as the life of her famous father, Vincent Price.
Victoria’s popular blog, Daily Practice of Joy, chronicles the journey back to joy which began in 2011 – – the year in which the world celebrated the 100th birthday of her father, Vincent Price, with Vincentennial celebrations around the globe.
In 2016, after living in Santa Fe, New Mexico, for a quarter century, Victoria embarked on an ongoing journey of intentional homelessness, chronicled in her new inspirational memoir, The Way of Being Lost: A Road Trip to My Truest Self (Ixia Press/Dover 2018). A new edition of her critically-acclaimed biography of her father, Vincent Price: A Daughter’s Biography, will be released in November by Dover Press (and will be available to purchase at Cine Excess). Victoria is currently at work on her new book, Here Be Monsters: Inviting the Faith, Fear and Freedom of “I Don’t Know”.
Cine-Excess is an annual international film festival and conference, which is attracts global filmmakers, scholars, distributors and exhibitors to an event which features filmmaker discussions, a themed three day conference and theatrical premieres/exclusive screenings. Cine-Excess is open to the public (aged 18 and over), who can book can either book screening delegate passes for individual films, or full delegate passes for the conference, lunches and all Cine-Excess screenings.
Did you know that Castle Acre Priory in Norfolk was used as the primary location for 1964’s Tomb of Ligeia, Roger Corman’s last hurrah in American International Pictures’ Poe adaptations starring Vincent Price?
Founded in 1089 by Earl Warenne, Castle Acre Priory served as a Cluniac monastery inhabited by some 30 monks until it was dissolved in 1537 under Henry VIII, when it was turned over to Sir Edward Coke, whose descendant, the Earl of Leicester, now owns the ruins (under the administration of English Heritage).
Back in 1964, however, it famously stood in for the home Vincent Price’s tortured hero Verden Fell who, against his better judgement, takes a new wife – the headstrong Lady Rowena Trevanion (Elizabeth Shepherd), but is soon haunted by the spirit of his late first wife, the ungodly Lady Ligeia.
Roger Corman and cinematographer Arthur Grant (who was also a regular Director of Photography for Hammer Films) make great use of the Priory ruins, which haven’t altered a bit over the past 50 years.
To point you in the right direction, I have used a map which is available at the ticket office attached to the Priory, and used the same numbering.
There are a few long shots of the Priory (taken from No3 in the map) used throughout the film, with the last one being a matt painting.
Ligeia’s coffin is carried through (10), where the monks infimary chapel and ward originally stood, to where her tombstone stands (in an area that was the later infirmary). This is also where Rowena falls from her horse and where Verden and Christopher (John Westbrook) share some scenes.
Following the fox hunt, Rowena rides her horse from (11), the old latrine block, through (9), the former day room and dormitory, and into (10), the infimary, towards Ligeia’s tombstone. Christopher takes the same route following Rowena’s frightful first encounter with Verden.
VERDEN TO THE RESCUE
Rowena is carried by Verden through (6), where the Presbytery once stood, and (5), the Nave, and they stop at the main doorway in the west front (when Rowena takes off Verden glasses) befor heading into (17), the West Range and Prior’s lodging house. This area was used in a scene in which Rowena pays Verden a visit and a night-time shot when the couple return from their honeymoon.
Verden leads Christopher through (5), the main doorway, to show him Ligeia’s defaced grave at (10), the later infirmary, where he also voices his concerns that Ligeia’s spirit has returned.
TO THE BELL TOWER
Verden and Christopher run through an arch in (9), former the Chapter House, on hearing the tolling of the bells (after Rowena follows the black cat into the belfry).
In a scene that always reminded me of Alice in Wonderland, Rowena and Christopher take tea outdoors in (7), originally the Cloister. In the distance, you’ll see a power line and a plyon, which are still in tact today.
If you are ever in Norfolk, I do recommend a visit to Castle Acre. Of course, it wasn’t the only film location used in this classic Gothic horror – the others were Stonehenge, Polesden Lacey in Dorking, Surrey and St John’s Rectory in Wotton – and I’m looking forward to checking them out soon.
If you have any then and now pics (especially ones I may have missed) and you’d like to share them, then do get in touch. In the meantime, I’ll leave you with this lovely signed pic of Elizabeth.
This year’s Theatre of Blood Locations Walking Tour, which took place on Saturday 28 July, was a resounding success (again), and I thank everyone for coming and enjoying the very long trek around London (which was greatly helped by some perfect summer weather).
This year, we started off at Kensal Green Cemetery, one of London’s Magnificient Seven – where I conducted a tour around the Anglican chapel. It was here that the entire cast of Theatre of Blood assembled for the funeral of the first critic to meet their demise, George Maxwell (Michael Hordern), while Dennis Price’s Hector Snipe turned up as as corpse tied to the back of a horse. It is also the location of Lionheart’s memorial, and where Vincent Price’s Edward Lionheart disguises himself as gravedigger.
Next up was the site of the fencing school where Lionheart reveals himself to his nemesis, Peregrine Devlin (Ian Hendry), located in St John’s Wood, just a short stroll from Abbey Road Studios; then we had lunch on the banks of the river Thames in Hammersmith, where George Maxwell’s apartment lies in the shadow of the iconic Hammersmith Bridge.
Following lunch, we all took a bus ride to Dock Road in Brentford, where the site of Lionheart’s resurrection can still be viewed today above a working shipyard. Unfortunately, a couple of boats moored on the spot obscured the location – but during my reccie a couple of weeks beforehand, I was lucky to photograph the area. However, a few of us did paid homage to the scene by downing some ‘Meths’.
After a well-earned pint at a pub nearby (whose patrons were rather suprised by 30 people – many in our special Tour tees – descending on the place), we all headed to Putney – another key location as three key scenes where all shot in the area.
First up were the sites of the abandoned warehouse where Maxwell is butchered in a gory reenactment of the death of Julius Caesar and the Putney Hippodrome (which stood in for Lionheart’s lair, the Burbage Theatre). While both these buildings were demolished and replaced with a housing estate in 1975, our group had a lot of fun picking out the correct angles from some of the shots in the film.
And, a couple of streets away, we visited the exterior of the house that stood in for the home of Meredith Merridew (Robert Morley), where he is forced to eat his pet poodles baked in a pie, and where a comical police chase was staged.
Next up, it was short bus ride to Wandsworth Town to visit The Causeway – the site of Devlin’s abduction and where Eric Sykes’ Sergeant Dogge has a deadly date with a speeding train.
Our final destination was Vauxhall, where we took a close-up view of Devlin’s riverside apartment, Peninsula Heights (now the home of author and former politician Jeffrey Archer), were Lionheart takes his swan dive into the Thames. After one last group photo, we all said our goodbyes before some of us went for a well-earned dinner…
Visiting all of the locations used in the film would really take two days, so each year we try to mix them up a bit, so it’s always an adventure and a great way to see parts of London even Londoners rarely visit. If you’d like to join us next year, then do sign up to the Vincent Price Legacy UK newsletter (click here to sign up) and join the Theatre of Blood Facebook Group (click here join).
On the weekend of the 21 and 22 of April, I hosted a trip to Suffolk in East Anglia for two days of exploring the original film locations used in the 1968 British cinema classic Witchfinder General, starring Vincent Price as the eponymous Matthew Hopkins.
Blessed with the best weather of the year, our 15-seater van which we dubbed the Mystery Machine ambled through Lavenham, Kersey, Bury St Edmunds, Thetford, Orford, Dunwich and Manningtree, with a few other people joining us on their own steam over two days.
My heartfelt thanks goes out to Selene for taking the reigns of the Mystery Machine and to Graham Humphreys for the fantastic poster that he produced, and got signed by the film’s second big star, Ian Ogilvy, which attendees received on Sunday afternoon over some well-earned pints in Manningtree, at the very location where the real Matthew Hopkins conducted some of his evil deeds.
Here’s a snapshot of the film locations that we covered.
This quaint little village was the setting for the film’s opening sequence in which a woman is led through a side street to a field where she is lynched, while Vincent’s Matthew Hopkins looks on from a distance.
Over the years, trees have grown to obscure St Mary’s church which appears the opening title credits. The pathway where the villages drag the woman lies next to the former home of thriller writer Hammond Innes.
The former Rushford College and St John’s Church in this quiet backwater proved the ideal location to double as John Lowes’ Brandeston church.
The scenes shot at the College (now a private residence… which we inadvertently trespassed) included Hopkins and his assistant John Stearne (Robert Russell) setting Lowes to running and pricking, and Sara (Hilary Dwyer) trying to secure her uncle’s freedom by giving herself to Hopkins; while the church was used for a scene in which Richard (Ogilvy) swears his oath of revenge over Sara’s rape at the hands of Stearne.
The 15th-century Kentwell Hall doubled as the magistrate’s house where John Lowes’ trial by water and hanging took place. Visiting the stately manor also gave us an opportunity to recreate recreate the infamous publicity shot of Vincent and director Michael Reeves, in which their difficult relations during the shoot is quite visible in their body language.
While many of the riding sequences were filmed on military ground which has restricted access today, one scene involved Richard and his platoon meeting with Oliver Cromwell (Patrick Wymark). This took place at Ixworth Mill, which today is a self-catering B&B. It is also situated not to far from Great Livermere, the childhood home of the ghost writer MR James.
The medieval town was used for a number of key sequences in the film, including when Hopkins oversees the burning of Elizabeth (Maggie Kimberly) in the town square where Sara lodges, and where Hopkins resides in a local pub. Another key scene takes place in a nearby Water Street, where Stearne informs Hopkins of Richard’s desire for revenge.
Guildhall, Market Place, Lavenham
Little Hall, Lavenham
This building doubled as the rooming houses for both Sara and Hopkins. We were very excited to find that little has changed in the room used for Hopkins’ bedroom, but we also discovered that while the outside of the building was used for Sara looking out a window, the interior was not. This was, in fact, a set constructed in an aircraft hangar in Thetford.
Water Street, Lavenham
This street, around the corner from the Guildhall, is where Stearne runs to warn Hopkins and where Hopkins spies Sara across the road.
The cellar of this 11th-century keep was used for the bloody climax in which Hopkins is shot by Nicky Henson’s Trooper and then hacked to death by a vengeful Richard. English Heritage are proud of its film legacy and even include it on their audio tour, with some Kensington gore thrown in for good measure.
It was quite a trek (over an hour) to drive to the coast where the scenes of Richard and his platoon meeting a fisherman where shot. But on our arrival, we discovered we were in the wrong place. One of our group has now found the correct location, the Seven Sisters cliffs on the Sussex coast. So another outing is in the offing.
BURY ST EDMUNDS
The Angel hotel in Bury St Edmunds is where the cast and crew stayed while filming. Vincent stayed in room 215, the Charles Dickens suite, which still contains the bed that the writer slept in. The bar is where he got drunk with Nicky Henson and the rest of the cast, and the kitchen is where he rustled up pasta for the crew.
The real Matthew Hopkins operated many of his dark deeds in Manningtree. So, on our return to London, we stopped off at The Red Lion, where, in 1644, eight local women were suspected of witchcraft and into the prison, which used to sit on the land to the right of the pub.
For more pictures about the Witchfinder Weekender, check out the dedicated Facebook Group page: https://www.facebook.com/groups/112107102984052/
When Jenny Hammerton at Silver Screen Suppers was preparing her latest cuinary adventures, Cooking with Columbo: Suppers With the Shambling Sleuth, she invited friends and fellow Columbo fans to test cook the recipes. Of course, I couldn’t resist – especially as one the episodes, Lovely But Lethal, featured Vincent Price alongside Vera Miles as the guest villain of the week.
Courtesy of Jenny, here’s the page for you check out, including the recipe, Vera Miles’ Mexican Casserole, and my verdict. You can purchase Cooking With Columbo from Amazon.
LOVELY BUT LETHAL – 1973
Anyone who wears an entirely white outfit topped by a pristine white turban is fine by me. The wardrobe department for this episode pulled out all the stops, and Vera Miles looks absolutely sensational in every single outfit. Vera plays Viveca Scott, Queen of Cosmetics, who is ruthless in her quest for the ultimate anti-wrinkle cream. Her business rival is played, with great panache, by screen legend Vincent Price, and the two of them take great relish in throwing insults at each other.
It’s an early morning murder-callout for Columbo, but luckily he has a hard-boiled egg in the pocket of his raincoat to snack on for breakfast. In the kitchen of the murder victim, he searches in vain for salt to sprinkle on his egg. Usually, he says, he carries a shaker in his pocket, but alas, not so on this occasion. Luckily for Columbo, while he is on his condiment hunt, he spots a clue he might otherwise have missed…
Beauty Mark is the name of Viveca’s cosmetics business. For British readers, a beauty mark is what Americans call a beauty spot. This might seem irrelevant, but nothing is lost on Columbo of course, and there is a clue bound up with Viveca’s beauty spot. Also worth pointing out to those not in North America, and too young to remember the popular 1960s song, poison ivy is a plant that causes a violent reaction when touched. Remember this refrain: “Poison ivy, Lord’ll make you itch!”
Viveca gets annoyed with the Lieutenant when he questions her about a romantic relationship she once had with the murder victim. She screeches, “I like young men Lieutenant, lots of them, and if that shocks your masculine double-standard, I’m sorry.” She thinks he belongs “in a museum,” but Columbo is not a judgmental man when it comes to the love-lives of his suspects. We know this from many other episodes.
When Columbo comes to search for evidence at Viveca’s health farm, he is suffering from poison ivy. She condescendingly asks him, “Poor thing, still worried about your itch?” But Viveca should be worried about hers. It’s the itch that will send her to the Clink.
In the newspaper article from which this recipe of Vera’s is taken, published in 1974, she is quoted as saying that she felt that there weren’t many good acting roles for women. “It’s a man’s world, and so many of the writers are men who write for men.” She must have been happy with this role in 1973 though, striding around her health farm in a bright, white jumpsuit, Viveca is the epitome of someone who “owns it.” Vera is a fabulous actress and one of my very favorite Columbo adversaries.
Viveca’s favorite tipple is apparently a tequila cocktail with organic cactus juice, so if you can get your hands on such a juice, that would be a fun thing to serve. It would fit with Vera’s Mexican inspired dish too. A super-cheesy treat with chilies.
Vera Miles’ Mexican Casserole
1 lb / 450g of Jack/Gouda cheese
1 lb / 450g of Cheddar cheese
6 eggs, separated
1½ tablespoons flour
Two small cans of green chili peppers
One fresh tomato, sliced
Dash of oregano
Preheat oven to 375 degrees F / 190 degrees C / gas mark 5.
Grate the two kinds of cheeses and mix together. Beat egg whites until stiff, adding about 1½ tablespoons flour for added body. Beat the egg yolks until fluffy and gently fold into the egg white mixture. Add a dash of salt to taste.
Chop the chili peppers. Vera says: “If you desire less of a hot taste, remove some of the chile seeds, as they contain the hot flavor.” Grease a large casserole dish that would serve about five people and layer a portion of the egg mixture into the dish. Next layer part of the chopped chili pepper, ending with a portion of the cheese. Repeat until ingredients are used up. Arrange the fresh tomato over the top, and sprinkle with oregano.
Bake for 30 minutes or until mixture is set.
Serves 6 (or more according to test cooks!)
Just one more thing… Stalwart test cook Peter Fuller, curator of the Vincent Price Legacy UK, made a rather deluxe version of Vera’s casserole, searing fresh chilies over a naked flame and scraping off the charred flesh before adding them to the dish. His feedback was as follows, “My tasters called it a glorified cheese toastie (grilled cheese sandwich), minus the bread. And I have to agree. It certainly should not be viewed as a main, rather as a side dish. I would suggest after baking, to cut it into small bite size pieces as a warm side dish, hors-d’oeuvre, canapé, or amuse bouche depending in what country you’re celebrating. As for reheating leftovers, this doesn’t work in a microwave as it turns into a slab of hot cheese. Best to reheat under a grill.”
I think it is fair to say that this is a super cheesy dish that might be TOO cheesy for some. Test cook Samantha Ellis’ husband, put it like this when he sampled a slice, “just tastes of cheese,” so you might need a big salad with a sharp dressing or a ton of vegetables alongside this dish to cut through the cheesiness.
In the winter of 1961-1962, Vincent Price starred in the first cinematic adaptation of Richard Matheson’s novel I Am Legend, re-titled The Last Man on Earth. Although ostensibly set in Los Angeles, the film was actually shot in Rome, Italy, making effective, atmospheric use of the Immortal City’s unique business and residential district, EUR.
This area was originally conceived as the Esposizione Universale Roma, Benito Mussolini’s grand plan to celebrate 20 years of fascism for the 1942 World’s Fair. But it remained unfinished due to the Second World War, and was finally completed in time for the 1960 Olympics in Rome.
The austere new buildings that rose up became symbols of a new wave of Italian rationalism inspired by ancient Roman Imperial town planning; with the most iconic being Marcello Piacentini’s travertine-marble clad Palazzo della Civiltà Italiana (or Square Colosseum). Today it’s the HQ for the Fendi fashion label, and has featured in quite a few films, but The Last Man on Earth was the first to use the location, followed by Federico Fellini’s Boccaccio 70 segment Le tentazioni del dottor Antonio in 1962.
On a recent visit to Rome, I decided to start tracking down the original locations used in the film, and I was surprised to find quite of few. Some, however, remain elusive owing to the passage of time. But here are the ones I have found – so far.
The film begins with the sun rising over an unidentified suburb in Rome, with vista shots of the Tiber, deserted streets littered with corpses, tower blocks and a freeway overpass (to link it to LA obviously), a petrol station, supermarket and a Community Church displaying a sign The End Has Come.
This is Santi Pietro e Paolo a Via Ostiense in Piazzale dei Santi Pietro e Paolo 8 in EUR, which was completed in 1955 and was intended to be Mussolini’s mausoleum, but is now where Cardinal Priests are appointed. In my Now shot, my travel companions were quite willing to play ‘dead’ while the odd churchgoer passed by.
The camera then pans on a bungalow where Price’s eponymous Last Man, Robert Morgan resides. Now, I’m unsure whether this was a set or not, but scenes of Morgan driving towards the entrance reveals an incline and a wood or forest in the distance, so the jury is out on that one.
While heading to dispose of his latest ‘victims’, Morgan passes Santi Pietro e Paolo a Via Ostiense and a couple of tower blocks, and ends up on the outskirts of Rome where the burning plague pit is situated.
After picking up some chilled garlic at a modern (1950s style) supermarket, Morgan tracks stakes some more sleeping vampires. A montage reveals a new housing development, an amusement park (most probably the same one that appears in 1966’s Dr Goldfoot and the Girl Bombs) and a large sporting arena.
This Then/Now shot shows the Palazzo Dello Sport, which was completed in 1960 for the Summer Olympics in Rome, and is today known as PalaLottomatica, the home of the Vitus Roma basketball team.
Morgan then falls asleep while visiting his wife’s mausoleum, a modernist building at a cemetery under construction, where he finds himself fighting off a band of vampires. This another location I have yet to find.
Flashbacks reveal Morgan’s family life (which takes place in a villa with a terraced garden) and his work at the Mercer Institute of Chemical Research (an unidentified 1930s office building lined with columns), while army trucks drive through EUR’s wide streets.
Back in the present, Morgan gives chase to a black dog, heading down the street from his home, over a verge (where the same two columns we see at the beginning of the film can be seen), and onto the steps of the Palazzo della Civiltà Italiana.
At the four corners of the podium of the iconic Square Colosseum are placed four equestrian sculptural groups by Publio Morbiducci and Alberto de Felci, representing the Dioscuri, the two mythical Greek heroes, sons of Zeus and Leda. Other films shot here include Peter Greenaway’s Belly of an Architect (1987), Hudson Hawke (1991) and Titus (1999) with Anthony Hopkins.
Morgan then runs across a road flanked by a colonnade. This can be found beside the Santi Pietro e Paolo a Via Ostiense.
The next sequence features another iconic EUR structure, Il Fungo, which is situated on a hill across the road from the Palazzo Dello Sport.
This Piezometric water tower was completed in 1960 and continues to supply water to the EUR gardens today. In 1961, tenor Mario del Monaco turned the top of the tower into an exclusive restaurant (although it probably wasn’t open at the crack of dawn when Price filmed his scene). Il Fungo was also used in the opening scenes of Michelangelo Antonioni’s L’Eclisse in 1962.
Following shots of a street featuring a statue similar to the ones adorning the Square Colosseum, Morgan finds three vampires staked at a clearing. This is a hill bearing two rows of trees and some white building in the distance. Here, Morgan encounters Ruth who proves his undoing.
In the final eight minutes, Morgan tries to evade capture by the new order of human/vampire hybrids by taking refuge in a unidentified building before being cornered and killed on the altar of a church.
The film’s climax takes place at the modernist-designed St Pius X Catholic Church via Attlilio Friggeri 87 in Trionfale, Balduina, which was built in 1961. Apart from some recent modernisation, and the installation of the pipe organ (in 1969), the interior has hardly nchanged.
I’m currently putting together a video of my film location finds, but until that’s completed, I shall leave you with one last montage.