The Abominable Dr. Phibes

Dir: Robert Fuest

1971

*****

Robert Fuest's cult classic The Abominable Dr. Phibes is a darkly humorous, Egyptian-themed, operatic, art-deco, horror masterpiece. The tag line used for the movie; "Love is never having to say you're ugly" is clearly spoofing Ryan O'Neal's Love Story that came out the year before, which ended with the immortal line "Love is never having to say you're sorry" but it is rather misleading, as this isn't a spoof or even obviously a comedy. However, it gives the audience a little idea of just how strange and out of sorts it really is. It is over the top and as camp as you like but even more so than the typical Hammer Horror or crime thriller of the day. Dr. Phibes, an expert in theology and music, is believed to have died in a terrible car accident, shortly after his wife dies in hospital. After rebuilding his own face and teaching himself how to talk again, Dr. Phibes goes about killing the doctors he believes failed his wife during treatment for an unknown illness and thus blames for her death. Simply shooting, stabbing or poisoning would be too dull, so the abominable doctor decides to kill them in the style of the Ten Plagues of Egypt, as seen in the Old Testament. Each murder is as flamboyant as the next, each being dastardly, horrific and also just a little bit funny. Phibes is like a satanic Bond villain, obsessed with revenge, money no object, a thing for masks and a dab hand at the old organ. The sets are about as elaborate as it gets, the stunning set pieces and back-drops make it look like a huge operatic production, and then you are met with Vincent Price in a child-like mask in the foreground, it's never clear when the film is being intentionally or unintentionally funny. I think quirky is the best word I can think of but it is a unique and very special kind of quirk. No one else could have played Dr. Phibes other than Vincent Price and it is one of the best characters of his career. The cast is impressive but it is the short but sweet performances from Terry-Thomas and Hugh Griffith that are the most enjoyable and most memorable. Peter Jeffrey is great however as Inspector Harry Trout, again, I now can't see anyone else playing the part as well. The story is flawed in many respects but it just doesn't matter, in fact, if it made any sense it wouldn't be half as compelling. It's one of the best examples of camp and hokey film making that the 1970s did so well, it's knowingly overblown but also quite subtle in its execution in many respects, like if Orson Welles had directed Carry On Screaming.