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.
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.
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.
While we don’t celebrate Thanksgiving here in the UK, I shall be getting into the spirit today cooking up this tasty Pumpkin Pie recipe from Mary and Vincent Price’s Come into the Kitchen Cook Book, which was first published in 1969, and got a glorious reprint last year.
VINCENT PRICE’S PUMPKIN PIE
1 9-inch unbaked pie shell
1½ cups canned or mashed cooked pumpkin
3 eggs, well beaten
1½ cups heavy cream
¾ cups granulated sugar
½ tsp salt
1 tsp ground mace
½ tsp ground nutmeg
½ tsp ground ginger
• Make the pie shell with a high scalloped edge, refrigerate for several hours.
• Preheat oven to 425 degrees.
• In a large bowl (with a pouring lip if you have one) combine the pumpkin with the eggs, then the cream, sugar, salt and spices. Blend well and pour into the chilled pie shell.
• Bake for 15 mins, then reduce heat to 350 degrees and bake for 50-65 minutes more, or until knife inserted in center of the pie comes out with only a few flecks clinging to it.
• Chill before serving.
Makes about 8 servings.
Last weekend I took a much-belated return visit to London’s Highgate cemetery to hunt down the locations used in THE ABOMINABLE DR PHIBES. Here’s what I found….
Believing Phibes still alive after the bizarre deaths of four doctors, Inspector Trout (Peter Jeffrey) and Dr Vesalius (Joseph Cotton) head to Highgate’s West Cemetery to check out the Phibes mausoleum.
We first see them entering the famed Egyptian gateway inside the East Cemetery, where John Franklyn’s graveyard attendant has some choice words about worms.
The next shot is taken from St Michael’s Church overlooking the Circle of Lebanon above the catacombs. Here we see Vesalius and Trout heading towards the Egyptian Avenue entrance with the graveyard attendant. Logically, they should be coming the other way – but it does makes for a better shot.
Vesalius and Trout are then led by the graveyard attendant down a path beside the Egyptian Avenue, before heading down into the Avenue itself (although we don’t actually see that).
Following a brief sequence in which the ‘fashionable’ Vulnavia presents Phibes with some flowers, we return to Highgate for a brief shot of the graveyard attendant letting Vesalius and Trout into the Phibes crypt.
Now this was bugger to locate as a prop entrance masks the actual tomb that was used. However, I did notice that the crypt of singer Mabel Batten, which also has poet/author Radclyffe Hall interred there, has the same curved architrave that you can see on the tomb beside the Phibes crypt (check it out in the top left hand corner of the picture above), so it could very well be the one on its immediate left. Unfortunately, I didn’t photograph that particular tomb – so I will just have to return to Highgate very soon.
From the team behind The Art of Horror and edited by writer/editor Stephen Jones, comes this vividly colourful companion book which takes a visual journey through the entire history of the horror film, from the early 1900s to today’s latest scare fests, celebrating one of the most crucial promotional elements: the movie poster.
Beginning with a foreword from director/screenwriter John Landis, who elaborates on why ‘the image of the poster must not just inform, but also entice’, each chapter charts the evolution of horror movies through the posters that were designed with the sole purpose to grab the film-goers attention and get those all-important ‘bums on seats’.
From The Sinister Silents to The 2000s Maniacs, these chapters are written by a host of esteemed guest contributors, including Sir Christopher Grayling, Jonathan Rigby, Kim Newman, Anne Billson and Ramsey Campbell, and are packed with over 600 images including posters, lobby cards, ads, promotional items, tie-in books (my favourite) and magazines; plus original artwork, including Graham Humphreys, who was responsible for Arrow’s iconic Vincent Price covers, as well as our 2015 Legacy poster and the Black Cat: Vincent Price Ale label (above); and US artist Jeff Carlson, who did this atmospheric private commission below.
Gorgeously designed over 256 pages, this must-have tome celebrates not only the actors and filmmakers, but also the amazing artists who were responsible for ‘scaring the pants off successive generations of movie-goers’. Amongst those featured are Basil Gogos (who drew all of the best Vincent Price portraits for Famous Monsters of Filmland, including the one from Madhouse, below), Marcario Gomez Quibus, Reynold Brown, Robert Tanenbaum and Renato Casaro.
While Vincent Price features heavily (Jonathan Rigby’s column on the Merchant of Menace really put a smile on my face), there’s so much more for classic horror movie fans to enjoy… and there’s also quite a few surprises, especially the inclusion of posters from Far East countries like Taiwan and Thailand (which so deserve greater appreciation).
And once you have swooned over the artwork through the decades, it will leave you with one lasting thought – that no amount of clever photo-shopping (the mainstay of movie posters today) will ever replace the vibrant truth of pencil and paint.
And speaking of Graham Humphreys, just take a look at this wonderful original early piece from the artist, which he has donated to the Vincent Price Legacy UK. Thanks Graham. We love it!