Review: Dr. Phibes Rises Again

As the title suggests, the ghoulishly disfigured and diabolical Dr. Anton Phibes (Vincent Price) is back. In this one, the action eventually travels to Egypt (portrayed here by Spain) where Phibes is in search of a fabled river with rejuvenation powers, hoping to restore life to his beloved deceased wife Victoria (a briefly glimpsed Caroline Munro). Standing in Phibes’ way is one Darius Beiderbeck (Robert Quarry), an archaeologist who is leading an expedition in Egypt of his own, even though Phibes has already stolen Beiderbeck’s map of the area. Needless to say, one by one Beiderbeck’s companions fall gruesome victim to Dr. Phibes, for getting in the way of his plans. Meanwhile, not-so hot on the trail is Inspector Trout (Peter Jeffrey). Valli Kemp plays Phibes’ assistant Vulnavia, Fiona Lewis is Beiderbeck’s wife, whilst Gerald Sim and John Thaw are part of the expedition team. In brief turns, Hugh Griffith is an ill-fated acquaintance of Beiderbeck’s, Peter Cushing is a ship captain, Milton Reid is Beiderbeck’s hulking manservant, Beryl Reid plays Griffith’s cousin, and Terry-Thomas is a shipping agent interviewed by Trout.

Most Vincent Price vehicles contain a certain amount of ham naturally, but if you like your Vincent Price movies to be as hammy as possible, you’ll probably enjoy the “Dr. Phibes” films. For me, they’re a step or two below the best Price vehicles (i.e. “House of Wax”, “House on Haunted Hill”, “Theatre of Blood”, and several of the Edgar Allen Poe flicks) but certainly better than the “Dr. Goldfoot” films and his underwhelming Egghead on TV’s generally enjoyable “Batman” (He was surprisingly one of the cornier villains, I reckon).

The star himself, it must be said is always hamstrung in these two films by the fact that the character uses a voice box to talk. Thus it’s Vincent Price with a lot of pancake makeup mugging for the camera without his lips moving, whilst the actor later came in and recorded the dialogue. It takes a little bit of the fun out of Price’s performance if you ask me. Also taking away some fun is the plot structure and flow, which has Dr. Phibes twiddling his thumbs for a bit too long before we finally get to Egypt (at around the 30 minute mark!). Scripted by its director Robert Fuest (director of “The Devil’s Rain” and the somewhat overrated “Count Yorga, Vampire”) and screenwriter Robert Blees (the uneven 50s remake of “Magnificent Obsession”, of all things), you’d think the slow pace would mean emphasis on plot and character, but there’s barely any plot at all and most of the characters are barely developed. Meanwhile, ‘guest stars’ Peter Cushing and Beryl Reid are badly utilised in what amounts to mere walk-ons, so that’s a shame. Poor Caroline Munro fares even worse, but sure does look stunning as usual.

So why do I like this film (let alone its predecessor)? A couple of things about this 1972 sequel stand out. The set design and costuming in this film are absolutely first-rate for a low-budget film, it’s really colourful stuff. The music score by John Gale (a music consultant on occasion, this was his only actual film score work) is good too, mixing organ music with some 70s stuff, as well as orchestral arrangements. Dr. Phibes’ band, by the way, is absolutely hilarious. The other highlight of the film is its comic gruesomeness. I mean, the sight of “Inspector Morse” (John Thaw) with brown hair is one thing, but then you get to see him clawed to death by an eagle. Fun, nasty little scene and easily the film’s most graphic death. The highlight though, is a brilliantly nasty- if bloodless- squeezebox death for one poor chap. Even without the red stuff, it certainly gets the job done and yikes, you would not want to be this guy. The film’s definitely at its best in Egypt, and at times might even remind you a little of the underrated “Blood From the Mummy’s Tomb”. Once it gets going it’s quite fun, though director Fuest’s reliance on close-ups won’t be for all tastes.

Although the film doesn’t give all of its actors enough to chew on, there’s certainly a few standouts. Terry-Thomas is barely in the film but (playing a different character to the one he played in the first film), he’s his usual subtle self. Or the exact opposite of subtle. You don’t hire Terry-Thomas to blend in with the scenery, and he doesn’t fail to make you take notice of him. Ditto veteran character actor Hugh Griffith, another mere cameo player (who also played a different role in the original) who nonetheless is able to make you sit up and take notice for a few minutes. Gerald Sim is his usual solid self, even if he gets perhaps one of the sillier scenes in the film, which you’ll have to see for yourself. I also appreciated the comic stylings of bulbous-nosed Peter Jeffrey and John Cater as two not-so smart policemen, who were also seen in the first film. Fiona Lewis meanwhile, probably gives one of her better performances, too. On the downswing we have a typically unpersuasive Robert Quarry, who for a period in the 70s was geared to become the next big horror star (Particularly in director Fuest’s “Count Yorga” flicks), and like the talented Ralph Bates it never really happened. Why? Because unlike Bates, Quarry’s a truly boring, and completely uncharismatic actor. AIP apparently wanted Quarry to be their next big thing (causing tension on set with Price, I might add), but it would prove to be a not especially wise move as Quarry just didn’t have star quality nor the acting ability to cover for a charisma deficit (or vice versa). They certainly seem to pump up his character as being a formidable nemesis for Dr. Phibes here, but it’s poorly done, you don’t feel much of a connection between the characters. Eventually, Quarry (who did a fair bit of TV) would end up working on a lot of Fred Olen Ray films, which just about says it all.

Visual design and music score are on point in this campy but highly watchable tongue-in-cheek horror film. Combined with some lovely macabre nastiness, it’s good, if lightweight fun. I’d like these films even more if they didn’t separate Price’s voice from the rest of his performance. Excellent skull makeup on Price at the climax though, a shame he doesn’t sport it throughout the rest of the film.

Rating: B-