Movie Review: The Comedy of Terrors (1963)
Synopsis
"The Comedy of Terrors" is a darkly humorous horror-comedy film directed by Jacques Tourneur and released in 1963. The film is a delightful concoction of slapstick comedy and gothic horror, infused with campy charm and satire. Set in a decaying town, it follows the misadventures of a desperate undertaker, Waldo, and his inept assistant, Felix, who are seemingly out of touch with the modern entrepreneurial world. They are struggling to keep their moribund funeral home afloat and resort to increasingly ridiculous schemes to drum up business.
Waldo, played by the incomparable Vincent Price, is a pompous and eccentric figure, deeply entrenched in his trade. His obsession with death and decay gets a comedic twist as he conspires with Felix, portrayed by Peter Lorre, a cowardly and incompetent accomplice. To add further chaos, they decide to improperly bury a recently deceased local man, gravely misjudging his actual state.
Meanwhile, the tone of the film is further complicated by the elements of farce that ensue when they accidentally end up knocking off a rival undertaker, setting off a chain reaction of ludicrous events. The situation escalates when a hapless group of townsfolk, including a newlywed couple, becomes embroiled in Waldo’s increasingly desperate attempts to maintain his business. The film cleverly critiques society’s obsession with death while presenting humorous misadventures surrounding the morbid theme.
As the plot develops, the film skillfully balances its humorous moments with subtle horror elements, creating an engaging and entertaining experience for viewers. The use of puns and wordplay, along with some unexpected plot twists, keeps the audience on their toes.
Actors and Characters
- Vincent Price as Waldo Trumbull: The pretentious undertaker who embodies the eccentricities of a man losing touch with reality.
- Peter Lorre as Felix Gillie: The bumbling assistant who often provides comic relief through his cowardice and clumsiness.
- Basil Rathbone as John F. Black: A rival undertaker whose demise is an unexpected twist that kickstarts the chaos.
- Joyce Jameson as the Widow Black: The grief-stricken widow whose deep sorrow contrasts the film’s comedic elements.
- Olive Sturgess as Mrs. Trumbull: Waldo’s acerbic wife, whose caustic remarks reflect the film’s dark humour.
- Joe E. Brown as Mr. Schuyler: A delirious, unhinged character who adds to the absurdity of the narrative.
Review
"The Comedy of Terrors" merges the tragic with the ridiculous, and its charm lies in its ability to oscillate between these divergent tones. Price delivers a spectacular performance that leverages his usual mastery over the macabre. His portrayal of Waldo oscillates between absurd pomposity and a desperate need for respectability, giving depth to a character that could have been merely comical. Lorre’s performance complements Price beautifully, as his portrayal of Felix is rich with cowardice yet endearing in his loyalty to his troubled boss.
The chemistry between Price and Lorre is palpable and plays a significant role in the success of the film. Their comedic timing and the absurdity of their schemes drive much of the film’s humour, allowing it to flourish in unexpected ways. For instance, their antics surrounding the funeral business often teeter on the brink of tragic farce, with each failed plot line leading to increasingly elaborate situations. The use of dark comedic elements interspersed with genuine suspense is one of the film’s more clever attributes, subverting conventional horror tropes while simultaneously playing into them.
Basil Rathbone lends the film gravitas through his portrayal of the rival undertaker, John F. Black, creating a foil for Waldo’s ineptitude. Rathbone’s character serves not only as a catalyst for the plot but as a representation of the consequences that come from the darker aspects of Waldo’s actions. His unexpected demise exemplifies how the film constantly undermines the traditional narrative arc; it acknowledges the inherent absurdity of its premise while simultaneously propelling it forward in chaotic, unpredictable directions.
The use of set design and cinematography heightens the film’s quirky aesthetic. The dilapidated funeral home serves as a metaphor for Waldo’s own failing aspirations and forms a character in its own right. The gloomy atmosphere juxtaposed with the outlandish comedic situations creates an engaging tension throughout the film. Tourneur’s direction skillfully harnesses this duality, allowing humour to flow seamlessly into darker moments, making for a fun viewing experience that also retains a hint of gravitas.
Additionally, the script deserves recognition for its witticisms and wordplay. Many lines, delivered with perfect timing by the cast, manage to elicit hearty laughs while simultaneously paying homage to the genre’s conventions. However, the film does not solely rely on dialogue; the physical comedy executed by both Price and Lorre is the true star, with slapstick moments expertly escalating from one absurd situation to the next.
The film is also peppered with a charming cast of side characters who contribute to the overall mayhem. Joe E. Brown’s character brings a chaotic energy that further amplifies the absurdity, and his antics juggling death and jokes serve as a reminder that humour can thrive even in the bleakest of scenarios.
However, despite the film’s strengths, it is not without its drawbacks. The pacing can feel uneven; certain segments lag as the narrative relies on excessive comedic setups that may not land effectively. Additionally, some may find the humour to be too niche, particularly for audiences less accustomed to the blend of horror and comedy. While the tonal shifts contribute to the film’s uniqueness, they can also disorient viewers expecting a conventional narrative structure.
In terms of its legacy, "The Comedy of Terrors" remains an underrated gem within the horror-comedy genre. It elegantly blends elements of gothic horror with slapstick humour, creating a distinctive atmosphere that is both engaging and entertaining. Although not as widely recognised as some of Vincent Price’s other iconic roles, it holds a special place among aficionados of cult cinema who appreciate the art of balancing laughter with fright.
Conclusion
In conclusion, "The Comedy of Terrors" is a delightful romp through the world of death and despair, skillfully woven together with humour and absurdity. With standout performances from Vincent Price and Peter Lorre, a clever script laden with wit and historical allusions, and direction that keeps the audience engaged, it remains a unique entry into the pantheon of horror-comedy.
For those with an appreciation of the more outlandish aspects of horror, and who enjoy a touch of nostalgia from the campy films of the 1960s, "The Comedy of Terrors" is certainly worth watching.
Score: 7.5/10