Six Essential Films Never Shown on TCM's The Essentials

Tonight The Essentials returns to Turner Classic Movies with a new co-host, director Brad Bird. Some TCM fans have grumbled about this season's schedule, as a large number of the movies are already frequently shown on Turner Classic Movies. In fact, several of the movies airing this season on The Essentials have already aired on the show: Singin' in the Rain (three times on the show), Casablanca (twice on the show), The Red Shoes (once on the show), Lawrence of Arabia (twice on the show), Gunga Din (twice on the show), Dr. Strangelove (twice on the show), The Maltese Falcon (twice on the show), 2001: A Space Odyssey (twice on the show), Ball of Fire (twice on the show), City Lights (once on the show), An American in Paris (twice on the show), The Searchers (twice on the show), North by Northwest (twice on the show), Guys and Dolls (once on the show), and Out of the Past (twice on the show).

While there have been some movies that have been shown multiple times on The Essentials, there are other movies that I believe many, if most, classic film buffs would consider essential that have never aired on the show. What is more, some of these movies are owned by Warner Bros, so that they could be aired on Turner Classic Movies free of charge. Here are six movies that I consider essential that have never aired on The Essentials.

Island of Lost Souls (1932):  Island of Lost Souls is important as a pre-code horror movie that was met with censorship across the United States and elsewhere. Along with Scarface (1932), Red Headed Woman (1932), and Baby Face (1933), it was one of those movies that led to stricter enforcement of the Code. The film also features some of the best performances by Charles Laughton and Bela Lugosi. Produced by Paramount, Island of Lost Souls is currently owned by Universal, so TCM would have to make a deal to show it, but it would be worth it.

The Wizard of Oz (1939): As shocking as it might seem, The Wizard of Oz has never aired on The Essentials, even though I doubt there are very many, if any, classic film buffs who would say that it is not an essential. Of course, TCM shows The Wizard of Oz regularly and, well before TCM even existed, it was shown yearly on the broadcast networks. There are some who believe that it is the most viewed movie of all time. Regardless, as one of the most essential classic movies, it really should air on The Essentials at least once. 

The Black Swan (1942): As far as I am concerned, The Black Swan is the greatest pirate movie of all time. It features some of the best scenes of ship to ship battles, as well as some great sword fights. As such I think it is the best of the swashbucklers of the Forties, making it essential viewing for fans of the genre and, to a lesser degree, classic film buffs at large.

The Naked City (1948): Several film noirs have aired on The Essentials over the years, but never The Naked City. That is a shame as it is one of the most influential noirs ever made. First, it is one of the earliest police procedurals ever made. Its influence can be seen on everything from the radio show and TV show Dragnet to CSI: Crime Scene Investigation. Second, it was a shot in a documentary style that would influence both the French New Wave and the British kitchen sink dramas. While other police procedurals were released in the late Forties, arguably it was the one that had the most influence. It even inspired the critically acclaimed TV show Naked City.

Shane (1953): There can be no doubt that Shane is influential. It has been imitated numerous times. What is more, it was one of the earliest "adult Westerns." Its influence can then be seen not only on movies, but TV shows as well. Despite this, the film has never aired on The Essentials. I have suspect it may be because it was produced by Paramount, who I believe still owns the rights.

Forbidden Planet (1956): Aside from The Wizard of Oz, this is the movie that I am most shocked has not aired on The Essentials. It was produced by MGM. Since Warner Bros. owns the pre-1986 MGM library, TCM can then show it without being out a lot of money. Indeed, it is already shown regularly on Turner Classic Movies. Despite this, it has never aired on The Essentials. I find this surprising as it is one of the most influential sci-fi films of all time. It was one of the earliest sci-fi movies made for adults ever made, and it also broke new ground for special effects. What is more, it has had a lasting influence on everything from the TV series Star Trek to the movie Alien (1979). Indeed, I think one could argue that Forbidden Planet is more influential than either 2001: A Space Odyssey or Close Encounters of the Third Kind.

The Late Great Gene Deitch

Gene Deitch, prolific animator and the creator of the classic television cartoon Tom Terrific, died on April 16 2020 at the age of 95.

Gene Deitch was born on August 8 1924 in Chicago, Illinois. He had an artistic bent even as a child. He would make his own newspapers using carbon paper, hectograph gelatin and mimeograph stencils, and also created his own comic strips. Gene Deitch grew up in Los Angeles. He attended Venice High School, after which he was drafted into the United States Army. He was trained as a pilot, but caught pneumonia and was subsequently given an honourable discharge. After his service he worked in the sales promotion department of CBS. While there, he sent some drawings to the jazz music magazine The Record Changer. The Record Changer published the drawings and would publish more. Gene Deitch's artwork in The Record Changer came to the attention of animation studio UPA, who hired him as an apprentice animator.

Following his apprenticeship at UPA, Gene Deitch went to work for the the Jam Handy Organization, making industrial films. He then returned to UPA as a production designer. He eventually became the creative director at UPA.  At UPA he worked on some of the early Mr. Magoo cartoons, as well as a series of animated commercials for Piels Beer featuring comedy team Bob and Ray. He directed an experimental UPA short, "Howdy Doody and His Magic Hat."

It was in 1957, following Paul Terry's sale of the studio to CBS in 1956, that Gene Deitch was hired as the creative director of Terrytoons. Mr. Deitch's biggest achievement at Terrytoons would be the creation of Tom Terrific, a series of cartoons featuring the character of that name. Tom Terrific was a young boy who owned a funnel-shaped "thinking cap." He was always accompanied by his dog, Manfred the Wonder Dog, who despite being called "the Wonder Dog" tended to be a bit lazy. Tom and Manfred usually faced their archenemy Crabby Appleton, as well as such opponents as Captain Kidney Bean, Isotope Feeny the Meany, and Mr. Instant the Instant Thing King. The Tom Terrific cartoons aired on Captain Kangaroo starting in 1962 and would be seen again in the Seventies on the show. While at Terrytoons, Gene Deitch also created such characters as Clint Clobber, Gaston Le Crayon, John Doormat, and Sidney the Elephant.

In 1955, overlapping with his tenure at Terrytoons, Gene Deitch wrote and illustrated the newspaper comic strip The Real-Great Adventures of Terr'ble Thompson!, Hero of History, which centred on an intelligent boy in fantastic adventures, not unlike Tom Terrific. The strip lasted until 1956.

While the characters Gene Deitch created for Terrytoons were starkly original and imaginative, except for Tom Terrific, he clashed with many of the old guard at the studio. Terrytoons then fired Mr. Deitch in 1959. He then set up his own studio. It was from 1960 to 1963 that he produced a series of "Popeye" animated television shorts for King Features Syndicate. He directed the Academy Award winning short "Munro" (1961). From 1961 to 1962 he produced a series of new "Tom and Jerry" shorts for MGM. From 1962 to 1964 he produced a series of "Krazy Kat" cartoons for King Features Syndicate.  Between 1965 and 1967 he produced a series of shorts featuring a character named Nudnik. Nudnik was a lovable loser, who could do absolutely nothing right. The first short, "Here's Nudnik" (1965), was nominated for the Oscar for Best Animated Short Film.

In the Sixties Gene Deitch also directed the animated featurette Alice of Wonderland in Paris (1966) and the animated television pilot Terr'ble Tessie. Like Tom Terrific before it, it was inspired by Gene Deitch's earlier comic strip, Terr'ble Thompson.

In 1969 Gene Deitch began working with Weston Woods Studios, as their leading animation director. For Weston Woods Studios, he adapted such works as Rosie's Walk, Where the Wild Things Are, In the Night Kitchen, and many others. He continued working with Weston Woods Studios until his retirement in 2008. Following his retirement, Gene Deitch would occasionally contribute to the animation history blog Cartoon Research.

Gene Deitch was one of the last important animators to work during the Golden Age of Animation. His work was also starkly modern. He took Terrytoons, an animation studio not known for the quality of its product for much of its history, and made it one of the most innovative animation studios of the late Fifties. After his stint at Terrytoons, he directed the Oscar winning short "Munro," which also featured a distinctly modernist work. Having emerged from UPA, much of Mr. Deitch's early work was highly stylized and very modern, but he was capable of other types of animation. His work at Weston Woods varied according to the children's book that he was adapting. The animation for Where the Wild Things are resembled the illustrations in that book, while the animation in Moon Man resembled the illustrations in that book. Gene Deitch was an innovator in animation and one possessed of considerable talent.

Brad Bird Joins The Essentials on TCM

In the last season of TCM's programme The Essentials acclaimed director Ava Duvernay co-hosted with Ben Mankiewicz. This season another esteemed director will co-host with Ben. Brad Bird is well known for his work in animation and as the director of such films as The Iron Giant (1999), The Incredibles (2004), and Ratatouille (2007). The Essentials returns to Turner Classic Movies on May 2 2020.

Here I have to say that I am a big fan of Brad Bird. The Iron Giant is possibly my favourite animated film of all time, while The Incredibles, Ratatouille, and The Incredibles 2 number among my favourites. What is more, it is fairly clear that Brad Bird is a classic movie buff. His films are filled with references to the classics, from a scene involving a tank in The Iron Giant that was clearly inspired by a scene in The Day the Earth Stood Still (1951) to a visual tribute in The Incredibles to the shot of the Consolidated Life of New York office in The Apartment to  Brief Encounter (1945) playing on a television set in Ratatouille. Indeed, I have always thought that The Iron Giant, The Incredibles, Ratatouille, and The Incredibles 2 feel more like movies made in the late Fifties to early Sixties than they do the Nineties, Naughts, and Teens.

As to Brad Bird's selections for The Essentials, I think the vast majority of TCM fans will be very happy with them. There are such classics as Singin' in the Rain (1952), The General (1926), Gunga Din (1939), A Hard Day's Night (1964), The Music Man (1962), Dr. Strangelove (1964), North by Northwest (1959), Out of the Past (1947), and many more. In fact, I love every single movie that is being shown on The Essentials with the exception of one (The Searchers, as someone of Cherokee blood I simply cannot stomach the movie).

Of course, the fact that I love every single movie being shown on this coming season of The Essentials presents bit of a problem for me. Since I love all of these movies but one, then it is obvious that I have seen every one of these movies. What is more, I think any classic film buff worth their salt would have seen the vast majority of these movies. For me it's not enough for The Essentials to show old favourites. The Essentials should also introduce me to films I have never seen before. One of the reasons I enjoyed Ava Duvernay's stint as host of The Essentials is that she showed movies I had heard of, but had not yet had the chance to see, movies like Claudine (1974),  Harlan County, U.S.A. (1976), and Daughters of the Dust (1992). Not only have I seen every single movie airing on The Essentials, but in most cases I have seen them so many times I lost count long ago (Singin' in the Rain, Casablanca, A Hard Day's Night, The Music Man, Dr. Strangelove, The Maltese Falcon, North by Northwest...).

Anyway, while I do wish that Brad Bird had chosen some more obscure classics for The Essentials, I am sure the vast majority of TCM fans will enjoy this coming season. While most classic film buffs have probably seen these films multiple times, there is no arguing that they aren't essential.

Tom Lester Passes On

Tom Lester, best known for playing farmhand Eb Dawson on the classic sitcom Green Acres, died on April 20 2020 at the age of 81. The cause was complications from Parkinson's disease. He was the last surviving cast member of Green Acres.

Tom Lester was born on September 23 1938 in Laurel, Mississippi. He attended Laurel High School and then the University of Mississippi, where he received a Bachelor of Science degree in biology and chemistry. He attended graduate school at the University of Southern Mississippi before leaving the university to pursue acting.

He made his acting debut in 1961 in the very first production of the Laurel Little Theatre, Born Yesterday. He moved to California where he befriended actress Lurene Tuttle, who appeared in many radio shows and TV shows. She was able to get him cast in a variety of plays. He made multiple appearances at the North Hollywood Playhouse. Among the plays in which he appeared was one in which producer Paul Henning's daughter Linda Kaye Henning, who would play Betty Jo Bradley on Mr. Henning's show Petticoat Junction. Because of this he became friends with Paul Henning. When Paul Henning was casting a new show set in the universe shared by The Beverly Hillbillies and Petticoat Junciton, he cast Tom Lester as farmhand Eb Dawson, largely because he knew how to milk a cow.

Green Acres proved to be a hit and Tom Lester appeared in very nearly every episode of the show. He also guest starred as Eb on several episodes of Green Acres and episodes of The Beverly Hillbillies. In the Seventies, after Green Acres left the air, Mr. Lester guest starred on episodes of Love, American Style and Marcus Welby, M.D. He appeared in the TV movie Charo and the Sergeant. He made his feature film debut in 1974 in Benji.

In the Eighties Tom Lester guest starred on episodes of Little House on the Prairie, Knight Rider, and Santa Barbara. He reprised his role as Eb Dawson in the television reunion movie Return to Green Acres. He appeared in the movie Intruder (1989). Since then he has appeared in the movies The Pistol: The Birth of a Legend (1991), Gordy (1994), and Campin' Buddies (2014). He was the voice of a radio announcer in the film Christmas Child (2004).

Both while he was on Green Acres and for years afterwards, Mr. Lester travelled the country as a Christian preacher. He also returned to farming and attended autograph shows and conventions, often in the role of Ed Dawson.

Tom Lester's acting career was not extensive, but he was also a delight to see on screen. On Green Acres he created one of the most memorable sitcom roles of the Sixties, that of childlike, but smart-alecky farm hand. He interactions with Oliver Wendell Douglas (played by Eddie Albert), who he insisted on calling "Dad," were often the funniest bits in any given episode. While Tom Lester would always be typecast as Eb Dawson, he could play other roles. He played the main villain's henchman Riley Bonner in  the movie Benji. In the Love, American Style segment he played a deputy sheriff who must deal with a young couple who bet on literally everything. Tom Lester had considerable talent and a gift for comedy. If he is remembered so well as Eb Dawson, it is perhaps because he performed the character so well.

The Late Great Brian Dennehy

Brian Dennehy, who appeared in such films as Silverado (1985), Cocoon (1985), and Romeo + Juliet (1995) died April 15 2020 at the age of 81.

Brian Dennehy was born on July 9 1938 in Bridgeport, Connecticut. His father, Edward Dennehy, was a a wire service editor at Associated Press. The family moved to Long Island, New York, where Brian Dennehy attended Chaminade High School. He began acting while still in high school, appearing in a school production of Macbeth. He attended Columbia University for a time on a football scholarship before serving five years in the U.S. Marine Corps. Following his service he resumed his education at Columbia University and received a Bachelor of Arts degree in 1965.

Mr. Dennehy began acting in regional theatre, taking a succession of jobs to make a living. He worked as a butcher, a truck driver, and a stockbroker at Merrill Lynch, a job he did not particularly like. He made his film debut in Looking for Mr. Goodbar in 1977 and his television debut in an episode of Kojak the same year. In the late Seventies he appeared in the movies Semi-Tough (1977), F.I.S.T. (1978), Foul Play (1978), Butch and Sundance: The Early Days (1979), 10 (1979) and Little Miss Marker (1980). He guest starred on episodes of Serpico; Lanigan's Rabbi; M*A*S*H; Lucan, The Fitzpatricks; Lou Grant, The Tony Randall Show; Dallas; Big Shamus, Little Shamus; and Knot's Landing. He appeared in the mini-series Pearl and A Rumour of War.

In the Eighties Mr. Dennehy appeared in the movies Split Image (1982), First Blood (1982), Never Cry Wolf (1983), Gorky Park (1983), Finders Keepers (1984), The River Rat (1984), Cocoon (1985), Silverado (2985), Twice in a Lifetime (1985), F/X (1986), The Check Is in the Mail... (1986), Legal Eagles (1986), The Belly of an Architect (1987), Best Seller (1987), The Man from Snowy River II (1988), Miles from Home (1988), Indio (1989), Georg Elser - Einer aus Deutschland (1989), The Last of the Finest (1990), and Presumed Innocent (1990). On television he had a recurring role on Dynasty in the show's first and second seasons and the lead role on the sitcom Star of the Family. He guest starred on the shows BBC2 Playhouse, Cagney & Lacey, Hunter, Tall Tales & Legends, Faerie Tale Theatre, and Miami Vice. He appeared in the mini-series Evergreen. 

In the Nineties Brian Dennehy appeared on Broadway in the productions Translations and Death of a Salesman. He won the Tony Award for Best Actor for the latter. He appeared in the movies F/X2 (1991), Gladiator (1992), Tommy Boy (1995), The Stars Fell on Henrietta (1995), Romeo + Juliet (1996), Out of the Cold (1999), and Silicon Towers (1999). On television he had a lead role on the TV series Birdland. He appeared in the mini-series To Catch a Killer, A Season in Purgatory, Dead Man's Walk, and Nostromo.

In the Naughts Brian Dennehy had the lead role in the television series The Fighting Fitzgeralds and a recurring role on the sitcom Just Shoot Me. He guest starred on the shows The Agency, The West Wing, The 4400, 30 Rock, Rules of Engagement, and Rizzoli & Isles. He appeared in the movies Summer Catch (2001), Stolen Summer (2002), She Hate Me (2004), Assault on Precinct 13 (2005), 10th & Wolf (2006), The Ultimate Gift (2006), Welcome to Paradise (2007), War Eagle, Arkansas (2007), Cat City (2008), Righteous Kill (2008), Every Day (2010), Meet Monica Velour (2010), The Next Three Days (2010), and Alleged (2010).  He was the voice of Django in Ratatouille (2007).  He appeared on Broadway in Long Day's Journey into Night, Inherit the Wind, and  Desire Under the Elms.

In the Teens he had regular roles on the TV shows Public Morals and recurring roles on Hap and Leonard and The Blacklist. He guest starred on the TV shows The Good Wife and The Big C. He appeared in the movies The Big Year (2011), Twelfth Night (2012), Knights of Cups (2015), The Seagull (2018), The Song of Sway Lake (2018), and Driveways (2019).  He appeared on Broadway in Love Letters.

Brian Dennehy was truly a modern day character actor. Throughout his career he portrayed a wide variety of characters including heroes, villains, and everything in between. He was a villain in First Blood, playing the corrupt Sheriff Will Teasle. In Silverado he played Cobb, another corrupt sheriff. In F/X Mr. Dennehy played a more heroic role, that of police detective Lt. McCarthy, who finds more than he bargained for when he investigates a murder. Through the years Brian Dennehy played such a wide range of roles that it is difficult to say he was identified with any particular role. In Belly of an Architect he played Stourley Kracklite, whose life and health both begin to deteriorate. In the Miami Vice episode "Amen...Send Money" he played a televangelist. He played diverse historical figures, including John Wayne Gacy, Clarence Darrow, and the voice of Babe Ruth in the animated feature Everybody's Hero (2006). Brian Dennehy was an extremely talented actor capable of playing a wide array of roles and always gave a good performance.

TCM Classic Film Festival Special Home Edition in Review

In most years it would usually be some time this week that I would write a post featuring links to the many blog posts that TCM Classic Film Festival attendees have written about the festival. I do this because it is a way that those of us who cannot attend the festival can experience it vicariously. Sadly, with the ongoing COVID-19 pandemic it became necessary for Turner Classic Movies to cancel this year's TCMFF (as the festival is often abbreviated by TCM and their fans alike). To make up for the festival's cancellation, TCM then scheduled the TCM Classic Film Festival Special Home Edition, which TCM described as "...an on-air celebration of TCM Classic Film Festival movies and moments from the past decade that fans can enjoy from the comfort of their homes." Beginning on Thursday, April 16 at 8:00 PM Eastern/7:00 PM Central and running through Sunday, April 19, the TCM Classic Film Festival Special Home Edition was three days of the best programming ever on the cable channel.

Of course, the TCM Classic Film Festival Special Home Edition did not simply consist of movies. TCM also aired interviews and tributes from past festivals, such as the tribute to Eva Marie Saint at the 2014 film festival and the tribute to Peter O'Toole form the 2012 film festival. TCM also provided fans with a good deal of material for social media. This included a video kick off from all five TCM hosts, video memories of the hosts about their various experiences at past festivals, and a number of tributes and interviews from past festivals.

The online material related to the TCM Classic Film Festival Special Home Edition did not end with the many videos TCM posted to the various social media platforms. On Twitter there were several live tweets, some organized by TCM themselves and some by TCMParty, the group of fans (of whom I am one) who live tweet to movies on TCM using the hashtag #TCMParty. On Friday I hosted the TCMParty for A Hard Day's Night (1964), tweeting my usual trivia that I do when the movie airs on TCM. I figure that will be as close as I will ever come to introducing a movie at the TCM Classic Film Festival! That night TCM host Alicia Malone live tweeted Creature from the Black Lagoon (1954). Among the other live tweets included Eddie Muller for They Live By Night (1949) on Saturday (this was very special, as Eddie said he would never live tweet), and on Sunday Maureen Lee Lenker for Singin' in the Rain (1954) and Floyd Norman himself for Floyd Norman: An Animated Life (2016). The live tweets were very enjoyable, particularly as I got to interact with many old friends that I hadn't seen at TCMParties of late.

Both Turner Classic Films and TCM fans attempted to bring as much of the feel of TCMFF to the weekend as they could. Turner Classic Films actually created tickets for TCM Classic Film Festival Special Home Edition. Many fans posted photos of the various fashions they would have worn to the festival this year. On Twitter many of us fans joked about various films being at Grauman's Chinese or the Egyptian or poolside at the Roosevelt and stopping by Musso and Frank Grill or Mel's Drive-In for food.  Some past TCMFF attendees organized Zoom sessions so that they could chat as they would at the actual festival.

Creature of habit that I am, one of the things I liked about the TCM Classic Film Festival Special Home Edition is that it did not disrupt TCM programming as much as one might think. Turner Classic Movies aired cult classic Grey Gardens (1975) Friday night at 1:30 AM Eastern/12:30 AM Central, roughly the same time that TCM Underground airs.  On Saturday night TCM aired Night and the City (1950) at 11:45 PM Eastern/10:45 Central, roughly the same time that Noir Alley airs each week.

As to the line-up of films, I think it is one of the best line-ups Turner Classic Films has ever programmed. Among my favourites that aired over the weekend were The Seventh Seal (1957), Sounder (1972), A Hard Day's Night (1964), North by Northwest (1959), Some Like It Hot (1959), Creature from the Black Lagoon (1954), Mad Love (1935), Safety Last! (1923), They Live By Night (1949), Network (1976), Casablanca (1942), Night and the City (1950), The Lady Vanishes (1938), Auntie Mame (1958), Singin' in the Rain (1952), and Baby Face (1933).

From where I stand, the TCM Classic Film Festival was a resounding success. In fact, it was so successful that it is interesting to consider what it might mean for the future of the festival. Given Governor of California Gavin Newsom has said that social distancing measures could remain in place until early to mid-2021, it is possible that next year's TCM Classic Film Festival could also be one that unfolds virtually. Beyond that, it seems possible to me that even once the TCM Classic Film Festival returns to Hollywood, that we might still have the TCM Classic Film Festival Special Edition in some form. While TCM might be unable to air many of the films shown at the festival, they could still air many of the films to which Warner owns the rights (which a good many) simultaneously as they are shown at the festival. Of course, this means those who do not attend could see many of the introductions and interviews that we once had to wait to see on TCM Backlot or the TCM YouTube channel. I have to also wonder that we might not see TCM much more active on social media outlets during the festival, much as they were during this year's TCM Classic Film Festival Special Home Edition.

Regardless, the TCM Classic Film Festival Special Home Edition is the most fun I have had in a long time. It came at a time when I was feeling very down (not because of the COVID-19 pandemic, but due to other matters in my life) and it helped lift my spirits in a way I wouldn't have expected. I am sure that the TCM Classic Film Festival Special Home Edition did the same for many others. Turner Classic Movies has long been a way that its fans have had of getting through rough patches in their lives, and this time was no different. What is more, TCM has always had a very special connection to its fans, to the point that many fans often regard their hosts and others at TCM as friends. Once again, TCM came through in what is a very dark time for many of us.

The Abominable Dr. Phibes (1971)

(This post is part of the Vincent Price Blogathon hosted by Cinematic Catharsis and Reelweegiemidget Reviews)

Among the legendary horror movie actors, Vincent Price was utterly unique. Unlike Bela Lugosi, Boris Karloff, and Sir Christopher Lee, he never played monsters. Unlike Peter Cushing, he rarely played monster hunters. Instead Vincent Price played mortal men caught up in circumstances not necessarily of their own making. He played his share of heroes, including Dr. Warren Chapin in The Tingler (1959) and Dr. Robert Morgan in The Last Man on Earth (1964). More often he played villains, including Professor Henry Jarrod in House of Wax (1954) and Frederick Loren in House on Haunted Hill (1959). His speciality was playing individuals, who through circumstances or through the ill intent of others, had been driven beyond the brink of sanity. 

Among the most complicated characters Vincent Price ever played was Dr. Anton Phibes in The Abominable Dr. Phibes (1971) and its sequel, Dr. Phibes Rises Again (1972). Like many of Mr. Price's character, Dr. Phibes was a man driven mad by tragedy, in his case the untimely death of his wife. Unlike many of Mr. Price's characters, it is difficult to describe Dr. Phibes as a hero or a villain. Having lost his wife during a surgery, Dr. Phibes was scarred and left mute when he experienced a car crash in trying to get to her at the hospital. Unfortunately, rather than file a malpractice suit against the doctors involved in his wife's death, Dr. Phibes kills them one by one using means inspired by the ten plagues of Egypt. Dr. Phibes's motivation is then understandable to anyone who has experienced the death of someone they love, although he goes about dealing with his grief in ways that most of us would find, well, abominable.

Dr. Anton Phibes was the creation of William Goldstein, who co-wrote the screenplay for The Abominable Dr. Phibes with James Whiton. The genesis of Dr. Phibes was in a series of dreams that Mr. Goldstein had over the course of a week. After the last night of dreams, he wrote all of them down and then contacted James Whiton to see if the dreams could form the basis of a movie. Mr. Whiton had already written episodes of Voyage to the Bottom of the Sea and The Man From U.N.C.L.E. William Goldstein and James Whiton's screenplay eventually found its way to Ronald S. Dunas, a real estate man who had moved into film production. It was Ronald S. Dunas who brought the screenplay to the attention of James H. Nicholson of American International Pictures.

Before settling on the title The Abominable Dr. Phibes, the film had the working titles of Dr. Phibes and The Curse of Dr. Phibes. It was in a September 1970 article in Variety that it was reported that the film would be produced by Albert Fennell with Ronald Dunas, although ultimately it would be produced by Mr. Dunas and Louis M. Heyward, who had written for both The Gary Moore Show and The Ernie Kovacs Show and went onto become AIP's Director of Overseas Productions in London. He had already produced such classic horror movies for AIP as The Oblong Box (1970). 

Of course, much of the appeal of The Abominable Dr. Phibes is seeing two legends from the Golden Age of Hollywood pitted against each other. While Vincent Price played Dr. Anton Phibes, Joseph Cotten played Dr. Vesalius, the head of the team of doctors that had performed surgery on Dr. Phibes's wife. While Dr. Vesalius remains one of Joseph Cotten's best known roles, he was not the first actor considered for the role. Initially the role was offered to legendary horror actor Peter Cushing, who had to decline because of the recent death of his wife Helen.  

Dr. Phibes's vocal cords having been damaged in his automobile accident, the character required prosthetics to be able to speak. Because of this, as well as the heavy make up required of the role, all of Vincent Price's lines would be dubbed in post-production. This led to a complaint from Joseph Cotten that he had to remember his lines, while Mr. Price's lines would be dubbed in post production. Vincent Price simply replied to Mr. Cotten's complaint, "Yes, but I still know them, Joe." Vincent Price was known throughout his career for his remarkable memory, able to memorize not only his own lines, but those of every other character in a screenplay. Despite Joseph Cotten's complaint, according to Louis M. Heyward, Joseph Cotten was a total gentleman. He knew his lines perfectly and devoted all of his considerable talent to the role.

The role of Dr. Phibes required Vincent Price to spend several hours each day having his make-up applied. In order to make Joseph Cotten more comfortable on the set, Vincent Price would often joke around with his fellow veteran actor. As a result, Mr. Price's makeup would sometimes have to be reapplied.

The Abominable Dr. Phibes was directed by Robert Fuest, who had directed several episodes of the classic British spy TV series The Avengers. The plot of The Abominable Dr. Phibes already resembled the plot of a typical episode The Avengers, with individuals dying in bizarre fashions. It was in a large part because of Robert Fuest that the movie feels a lot like an episode of The Avengers, albeit one set in the 1920s.  In addition to the movie's touches of humour, it also features lavish sets and rich cinematography that would not be out of place in an episode of The Avengers.

The Abominable Dr. Phibes was filmed from November 2 1970 to January 1971. Most of the film was shot at Elstree Studios in Borehamwood, Hertfordshire, with various scenes being shot around both London and Hertfordshire. Dr. Phibes's mansion was the Rosary Priory High School in Herfordshire at the time the film was shot and had previously been Caldecote Towers Hotel (it is now Immanuel College). Highgate Cemetery in London was the final resting place of Dr. Phibes's wife.

Because Dr. Anton Phibes was a concert pianist with degrees in music and theology, music plays a big role in The Abominable Dr. Phibes. Such diverse pieces of music as "War March of the Priests" by Felix Mendelssohn, "What Can I Say After I Say I'm Sorry?," "Darktown Strutters' Ball," and "Charmaine" appear throughout the film. That having been said, much of the music in The Abominable Dr. Phibes is anachronistic. While the film appears to be set in the Twenties, it features songs written after that decade, including "Close Your Eyes (1933)," "Elmer's Tune (1941)," "All I Do Is Dream of You (1934)," "You Stepped Out of a Dream (1941)," "A Hundred Years from Today (1933)," and "One for My Baby (and One More for the Road) (1943)." While an instrumental version of "Over the Rainbow," written specifically for The Wizard of Oz (1939), plays over the closing credits, it is background music, as opposed to other anachronistic pieces of music that are played within the movie itself (for instance, "Elmer's Tune" on a music box).

Although The Abominable Dr. Phibes is now considered one of the greatest horror movies ever released by American International Pictures, according to Louis M. Heyward, AIP co-founder  Samuel Z. Arkoff hated The Abominable Dr. Phibes and even wanted his name removed from the movie. He had very little faith that the film could be a success. Initially, The Abominable Dr. Phibes was not a success. Marketed through a tongue in cheek campaign centred on the tagline, "Love never means having to say you're ugly! (a parody on Love Story's "Love never means to have to say you're sorry"), The Abominable Dr. Phibes did poorly at the box office. Fortunately, AIP switched to a more traditional, straight-forward marketing campaign and The Abominable Dr. Phibes proved to be a hit.

In fact, The Abominable Dr. Phibes proved to be such a hit that a sequel was planned. Screenwriters William Goldstein and James Whiton proposed a sequel titled The Brides of Dr. Phibes. Louis M. Heyward rejected The Brides of Dr. Phibes, and then turned to Robert Blees to write the sequel.  Dr. Phibes Rises Again was released in 1972.  Dr. Phibes Rises Again proved successful enough that more sequels were considered. Other proposed sequels included Dr. Phibes in the Holy Land, The Son of Dr. Phibes, Phibes Resurrectus,  Dr. Phibes, Phibes Resurrected, and The Seven Fates of Dr. Phibes. Sadly, none of these sequels ever made it to production.

These proposed sequels were not the only attempts to revive Dr. Phibes. In the mid-Seventies, Louis M. Heyward and William Goldstein proposed a TV series to NBC which would have featured Dr. Phibes fighting crimes using his considerable talents in makeup and technology. The network passed on the project.

While Dr. Phibes would never return to the big screen following Dr. Phibes Rises Again and would  never have his own TV series, the character would eventually be resurrected. Dr. Phibes's creator, William Goldstein, revived the character starting with the novel Dr. Phibes - In the Beginning in 2011, co-written with his son Damon J. A. Goldstein. Since then, the two men have written Dr. Phibes Vulnavia's Secret, Dr. Phibes, Dr. Phibes Rises Again!, and Dr. Phibes - The Androbots.

The Abominable Dr. Phibes stands as one of the most famous of AIP's later movies as well as one of AIP's greatest horror movies. It seems likely that its success is due to multiple factors. It is one of the most effective horror movies of the Seventies. It features some very frightening scenes, including several horrifying deaths. At the same time, however, it features touches of humour, with neither of the lead characters (Dr. Phibes and Dr. Vesalius) ever being the object of that humour. The movie's cast is certainly one of the reasons for much of its success. Both Vincent Price and Joseph Cotten give sterling performances. What is more, the cast includes such talents as Peter Jeffrey, Hugh Griffith, and Terry-Thomas. Certainly Robert Fuest's direction is responsible for much of the movie's success. Mr. Fuest was able to blend horror, humour, and music together in a way that it seems perfectly natural and yet unlike any movie before it.

Of course, most of all it is perhaps the character of Dr. Anton Phibes that is responsible for the success of The Abominable Dr. Phibes. It is with good reason that Dr. Phibes is listed in the closing credits alongside Dr. Vesalius as one of the protagonists. Despite being responsible for several terrifying deaths throughout the film, Dr. Phibes is not a villain. Instead Dr. Phibes is a figure with whom anyone that has lost someone they dearly love can sympathise. Dr. Phibes lost the one person he loved more than anyone else in the world, his beloved wife Victoria, and at the same time was horribly damaged physically himself. It is not merely out of anger that Dr. Phibes strikes against those he believes to be responsible for Victoria's death, it is also out of what must be overpowering grief. Given how much Dr. Phibes loved Victoria, it probably came as no surprise that the plot of the second movie, Dr. Phibes Rises Again, sees him seeking to resurrect her. While Dr. Phibes commits some very atrocious acts in The Abominable Dr. Phibes, he then remains a sympathetic figure. At his core, Dr. Anton Phibes is simply a man who was deeply in love with his wife and remains so even after her death.

It has been nearly fifty years since the release of The Abominable Dr. Phibes. Today Dr. Anton Phibes remains one of Vincent Price's best known roles and The Abominable Dr. Phibes one of his best known films. While Dr. Phibes might never have been resurrected again on the big screen after Dr. Phibes Rises Again, through the continued popularity of the film the character will never die.