We like our wizards to fit a certain mold. They seem to have the same characteristics in many of our classic adventure tales. A wizard trains or mentors the young protagonist (to whom he is not related), has knowledge unavailable to the general public which was passed down from long ago, uses supernatural powers, sports a white beard (mainly to show his advanced age), and despite his age, he's still good in a fight.
Merlin the Magician is the oldest of the archetype. The character dates back centuries, from the writings of Geoffrey of Monmouth. The version we know best was taken from T.H. White's book The Once and Future King, which was the source material for Camelot and The Sword in the Stone. The other wizards follow in Merlin's footsteps. Mentors: Arthur, who became King of Britain. Knowledge: More educated than anyone around him. Supernatural powers: Engineered Arthur's conception by sorcery, can see remotely, prophesied the outcome of various battles and Arthur's actions. White beard: Yes. Fights: Usually by magic only, although in some movie versions he can swing a sword with the best of them.
Obi-Wan Kenobi (Sir Alec Guinness) was a Jedi Master who became a hermit on the planet Tattooine in order to hide from the Empire and keep an eye on Luke Skywalker. He trained the young hero in the use of The Force when they were brought together by the droid R2D2. His role in training Luke was passed to the much older Yoda upon Obi-Wan's death. Mentors: Anakin and Luke Skywalker. He was more successful the second time around, which goes to show that older wizards are better. Knowledge: Jedi training. Supernatural powers: Skillful use of The Force ("These are not the droids you're looking for.") White beard: Yes, in episode four. Fights: He was a master with the lightsaber, but could not bring himself to kill Darth Vader.
Gandalf the Gray (Sir Ian McKellen) made it his life's mission to rid Middle Earth of the evil influence of Sauron and the Rings of Power. Along the way, he advised various entities and brought them together to reclaim their lands. Mentors: Frodo, Aragorn, and their comrades. Knowledge: The entire history of Middle Earth, plus a limited ability to see the future. Supernatural powers: Plenty, including returning from the dead. White beard: Yes, although it was gray early in the saga. Fights: Fearlessly, on horseback or on foot.
Albus Dumbledore (Michael Gambon) is the headmaster of Hogwarts School of Witchcraft and Wizardry. Mentors: Harry Potter and other students at Hogwarts School. Knowledge: Was educated at Hogwarts himself. Supernatural powers: Producing fire, invisibility, various spells. White beard: Yes. Fights: He spent years battling Grindelwald and Voldemort by various magical means, most often with conjured fire.
Mr. Miyagi (Pat Morita) trained The Karate Kid by getting his household chores done ("Wax on; wax off"). He's a master at what he knows, and bluffs his way convincingly through anything he doesn't know. Mentors: Daniel Larusso. Knowledge: Ancient martial arts techniques, zen philosophy, and a trained poker face. Supernatural powers: Only a magical healing touch, which was enough to save the day. White beard: Just the minimum requirement. Fights: Whipped five teenage black belts in 30 seconds.
You don't have to be human to be a wizard. Rafiki the monkey shaman kept an eye on the pride in The Lion King. Mentors: He wasn't a long-term teacher, but he set Simba straight on how to live his life. Afterward, he became an advisor to the lion king. Knowledge: He is the philosopher of the animal kingdom. Supernatural powers: Could see remotely by gazing at feathers. White beard: Yes. Fights: The hyenas with his staff.
The word wizard isn't normally applied to Santa, but he fits the profile, with the exception of mentoring the protagonist. No one upstages Santa Claus! Mentors: Nobody in particular, but he won't bring you toys unless you are a good girl or boy. That's a powerful incentive to behave. Knowledge: He knows when you are sleeping. He knows when you're awake. Supernatural powers: Drives flying reindeer, packs amazing amounts of gifts, rises up chimneys, and eats tons of cookies. White beard: In abundance. Fights: He prefers not to, but was arrested for assault in Miracle on 34th Street, and saved the day in Santa Claus Conquers the Martians.
Curiously, the character who actually uses the title Wizard (in The Wizard of Oz) doesn't display any of these characteristics! There are no doubt other characters who do fit this same profile. Can you add more to the list?
A remake of 1933’s Mystery of the Wax Museum, André de Toth’s House of Wax solidified the 3D movie craze of the 1950s. In the process it also walloped the box office and turned Vincent Price into a horror movie icon. On the 65th anniversary of the movie's release, join us on a tour of the legendary House of Wax; keep your hands off the mannequins, though—you might not want to know what lies beneath.
1. IT WAS ONLY THE SECOND 3D MOVIE TO BE RELEASED BY A MAJOR STUDIO.
Three-dimensional cinema is older than you might think. The first feature film to use this technology was the silent drama Power of Love, which dates all the way back to 1922. Yet audiences didn’t truly embrace this innovation until some 30 years later with the release of Bwana Devil—a Technicolor thriller about man-eating lions. Produced independently, Bwana Devil ballooned into a surprise smash, grossing more than $1.3 million in its first month in just 30 theaters. This really caught Hollywood’s attention. At a time when cinemas had to compete with television, 3D looked like the next big thing, a spectacle that could draw viewers out of their living rooms and into the nearest movie house. The industry’s biggest players rushed to cash in. On April 8, 1953, Columbia Pictures’ Man in the Darkpremiered, making it the first 3D movie ever released by a major studio. House of Wax, a Warner Bros. film, opened just two days later.
2. IRONICALLY, THE DIRECTOR LACKED DEPTH PERCEPTION.
As a child, André de Toth lost his left eye in an accident. Hence, the native Hungarian often wore an eyepatch. Rumor has it that WB president Jack Warner ordered de Toth not to wear the accessory on the set of House of Wax, lest anyone ridicule the studio for giving a 3D project to a one-eyed filmmaker. However, leading lady Phyllis Kirk cast some doubt on this story. “He may have [gone without his patch], but I don’t remember it,” she said later in an interview. But by all accounts, de Toth was undaunted by the challenging job; once, he rhetorically asked a reporter, “Beethoven couldn’t hear music either, could he?”
Far from being a setback, de Toth’s limited sight may have actively improved the finished product. Vincent Price himself thought as much. According to his daughter, Victoria Price, “Vincent felt that House of Waxwas saved from being unrelieved schlock by the faulty vision of its director … Since the 3D effect was lost on him, de Toth never really understood what the fuss was about, and limited his use of the gimmick rather than shamelessly indulging it the way a man with normal eyesight might have done. It was de Toth’s relative restraint, he believed, that turned House of Wax into a classic.”
3. VINCENT PRICE’S MAKEUP LOOKED SO GROTESQUE THAT HE WASN’T ALLOWED TO ENTER CERTAIN BUILDINGS WHILE WEARING IT.
In the movie, Price plays Professor Henry Jarrod, a wax sculptor whose museum and beloved figurines are torched by a greedy businessman (more on that later). Jarrod survives, but his face is horribly disfigured. Since the film was to be shot in both Technicolor and 3D, great pains were taken to ensure that Price’s makeup looked as convincing as possible. The result was a patchwork of hideous burns that shocked audiences—and nauseated a lot of Warner Bros. employees. “I was banished from the studio commissary,” Price later recalled. “This cold shoulder treatment started when I walked [in there] for lunch for the first time and the girl at the register turned green and almost fainted. Then the patrons got up and headed for the door. It was a bad day for business.”
4. IGOR WAS PLAYED BY A YOUNG CHARLES BRONSON.
Warner Home Video
Like Dr. Frankenstein, Professor Jarrod has a henchman named Igor—albeit, one that suffers from mutism instead of back problems. The role was given to Charles Buchinsky, who’d later emerge as one of Hollywood’s favorite tough guys in movies like The Magnificent Seven and The Great Escape. Worried that an eastern European last name might cost him a lot of work during the second Red Scare, Buchinsky rechristened himself as “Charles Bronson“ in 1954.
5. ONE ACTOR’S APPEARANCE WENT UNCREDITED BECAUSE HE’D BEEN BLACKLISTED.
Buchinsky/Bronson had it easy; changing his last name was nothing compared to what Nedrick Young went through as a result of Joseph McCarthy’s communist witch hunt. In early 1953, Young portrayed Leon (Jarrod’s other assistant) in House of Wax. Then, before the movie opened, he had to square off against a very different house: Accused of being a Marxist sympathizer, Young was questioned before the House Un-American Activities Committee. By his own admission, the actor was “a very unfriendly witness.” When asked outright if he was a communist, Young pled the fifth—and was blacklisted. Thanks to the controversy, his name was stricken from the credits in House of Wax.
6. PHYLLIS KIRK TRIED TO TURN THE MOVIE DOWN.
Since she was under contract with Warner Bros., Kirk had no choice but to appear in this picture when the studio cast her as Sue Allen, one of the leads. That didn’t stop her from complaining about the gig. “I bitched and moaned and … [said] that I wasn’t interested in becoming the Fay Wray of my time,” Kirk confessed. Another bone of contention was the 3D format, which she regarded as a “gimmick.” But despite these reservations, Kirk decided that playing ball would be preferable to getting suspended. “And incidentally, I went on to have a lot of fun making House of Wax,” she admitted.
7. THE FIRE IN THE OPENING SCENE SPREAD WILDLY OUT OF CONTROL.
It must have been easy for Price to act alarmed in the sequence in which his museum burns down. Right before the shoot, de Toth’s crew set three “spot fires” in strategic locations. Then the cameras started rolling and everything went downhill. The team quickly lost control of their fires, which merged into a massive inferno that put a hole in the sound stage roof and singed Price’s eyebrows. But because the rapidly melting wax mannequins would’ve been very hard to replace, de Toth kept on filming—even as firemen arrived to help extinguish the flames.
8. IT COMES WITH AN INTERMISSION.
Prior to the late 1970s, “epic” films would often treat their viewers to a built-in bathroom break. Midway through screenings of Gone With the Wind and other, extra-long classics, the action would pause, the theater lights would brighten, and the word “Intermission” would appear onscreen. Ordinarily, this practice was reserved for movies with bladder-testing runtimes of two and a half hours or more. By comparison, House of Wax flies by with its breezy 88-minute runtime. Yet, unconventionally for a short picture, it contains an intermission. Why? Screening the 3D film required two projectors running simultaneously. The respite was necessary because it allowed theater employees to change both reels an hour into the movie.
9. A FUNCTIONING GUILLOTINE WAS USED IN THE CLIMAX.
Toward the end of the film, Igor gets into a big fight with Sue’s boyfriend, Scott, played by Paul Picerni. From the get-go, there’s no doubt about which one has the upper hand, as Igor seizes poor Scott and shoves his head under a guillotine in the museum’s French Revolution display. Luckily, the police arrive in time to rescue our hero, pulling him out of harm’s way seconds before the blade comes crashing down.
Just like his character, Picerni came dangerously close to getting his head chopped off, Louis XVI-style—because this guillotine was 100 percent real. Rather than film the scene in segments, de Toth wanted to shoot the whole thing in one take. With blithe nonchalance, he told Picerni to go and stick his head under the razor-sharp blade of this death device.
Naturally, Picerni objected. At a 2006 House of Wax Q&A, the star reminisced at length about the argument that followed. “I asked de Toth, ‘How are you going to control the blade?’ He said the property master was going to sit on top of the guillotine, holding the blade between his legs, then let it drop after my head was removed.” When the actor opined that this sounded dangerous, de Toth replied, “What are you, chicken sh*t?” In the end, Picerni agreed to do the scene in one take, on the condition that a metal bar be inserted under the blade to keep it from falling prematurely.
10. THE FILM WAS COMPLETED WAY AHEAD OF SCHEDULE.
House of Wax was given a $1.5 million budget and 60-day shooting schedule. De Toth finished it in only 28 days for a meager $650,000. Blown away by this efficiency, Jack Warner sent him a case of whiskey as a “thank you.”
11. BELA LUGOSI ATTENDED THE PREMIERE—ALONG WITH A GUY IN A GORILLA SUIT.
Although the star of Universal’s Dracula (1931) did not appear in House of Wax, he did help promote it. The film’s world premiere was held at the Paramount Theater in Los Angeles on April 16, 1953. As a publicity stunt, Lugosi was invited to attend the big event. Clad in a vampire cape, he emerged from his limousine with a chain link leash, which was attached to an actor in an ape costume—a clear homage to the 1952 comedyBela Lugosi Meets a Brooklyn Gorilla.
12. IT MADE BOX OFFICE HISTORY.
House of Wax turned into one of the biggest hits of 1953 and 1954. In an era where movie tickets cost an average of 49 cents apiece, the horror feature pulled in an astonishing $5.5 million domestically. This made House of Wax the highest-grossing 3D movie ever made at the time, although it would lose this title in 1969 to a popular “skin flick” called The Stewardesses. By the way, Star Wars: The Force Awakens is the current record-holder.
13. PRICE LIKED TO ATTEND SCREENINGS OF THE MOVIE INCOGNITO.
As the thespian once told biographer Joel Eisner, he’d regularly go out and see House of Wax during its run. Happily for Price, the requisite 3D glasses could usually conceal his identity in the back of a dimly lit theater. But one night, he decided to make his presence known. At a showing in New York City, Price quietly took a seat behind two teenagers. Right after a particularly frightening scene, he leaned forward and asked “Did you like it?” In Price’s words, “They went right into orbit!"
Today marks what would have been the 101st birthday of Ella Fitzgerald, the pioneering jazz singer who helped revolutionize the genre. But the iconic songstress’s foray into the music industry was almost accidental, as she had planned to show off her dancing skills when she made her stage debut. Celebrate the birthday of the artist known as the First Lady of Song, Queen of Jazz, or just plain ol’ Lady Ella with these fascinating facts.
1. SHE WAS A JAZZ FAN FROM A YOUNG AGE.
Though she attempted to launch her career as a dancer (more on that in a moment), Ella Fitzgerald was a jazz enthusiast from a very young age. She was a fan of Louis Armstrong and Bing Crosby, and truly idolized Connee Boswell of the Boswell Sisters. “She was tops at the time,” Fitzgerald said in 1988. “I was attracted to her immediately. My mother brought home one of her records, and I fell in love with it. I tried so hard to sound just like her.”
2. SHE DABBLED IN CRIMINAL ACTIVITIES AS A TEENAGER.
Fitzgerald’s childhood wasn’t an easy one. Her stepfather was reportedly abusive to her, and that abuse continued following the death of Fitzgerald’s mother in 1932. Eventually, to escape the violence, she moved to Harlem to live with her aunt. While she had been a great student when she was younger, it was following that move that her dedication to education faltered. Her grades dropped and she often skipped school. But she found other ways to fill her days, not all of them legal: According to The New York Times, she worked for a mafia numbers runner and served as a police lookout at a local brothel. Her illicit activities eventually landed her in an orphanage, followed by a state reformatory.
3. SHE MADE HER STAGE DEBUT AT THE APOLLO THEATER.
In the early 1930s, Fitzgerald was able to make a little pocket change from the tips she made from passersby while singing on the streets of Harlem. In 1934, she finally got the chance to step onto a real (and very famous) stage when she took part in an Amateur Night at the Apollo Theater on November 21, 1934. It was her stage debut.
The then-17-year-old managed to wow the crowd by channeling her inner Connee Boswell and belting out her renditions of “Judy” and “The Object of My Affection.” She won, and took home a $25 prize. Here’s the interesting part: She entered the competition as a dancer. But when she saw that she had some stiff competition in that department, she opted to sing instead. It was the first big step toward a career in music.
4. A NURSERY RHYME HELPED HER GET THE PUBLIC’S ATTENTION.
Not long after her successful debut at the Apollo, Fitzgerald met bandleader Chick Webb. Though he was initially reluctant to hire her because of what The New York Timesdescribed as her “gawky and unkempt” appearance, her powerful voice won him over. "I thought my singing was pretty much hollering," she later said, "but Webb didn't."
Her first hit was a unique adaptation of “A-Tisket, A-Tasket,” which she helped to write based on what she described as "that old drop-the-handkerchief game I played from 6 to 7 years old on up."
5. SHE WAS PAINFULLY SHY.
Though it certainly takes a lot of courage to get up and perform in front of the world, those who knew and worked with Fitzgerald said that she was extremely shy. In Ella Fitzgerald: A Biography of the First Lady of Jazz, trumpeter Mario Bauzá—who played with Fitzgerald in Chick Webb’s orchestra—explained that “she didn't hang out much. When she got into the band, she was dedicated to her music … She was a lonely girl around New York, just kept herself to herself, for the gig."
6. SHE MADE HER FILM DEBUT IN AN ABBOTT AND COSTELLO MOVIE.
As her IMDb profile attests, Fitzgerald contributed to a number of films and television series over the years, and not just to the soundtracks. She also worked as an actress on a handful of occasions (often an actress who sings), beginning with 1942’s Ride ‘Em Cowboy, a comedy-western starring Bud Abbott and Lou Costello.
7. SHE GOT SOME HELP FROM MARILYN MONROE.
“I owe Marilyn Monroe a real debt,” Fitzgerald said in a 1972 interview in Ms. Magazine. “It was because of her that I played the Mocambo, a very popular nightclub in the ’50s. She personally called the owner of the Mocambo and told him she wanted me booked immediately, and if he would do it, she would take a front table every night. She told him—and it was true, due to Marilyn’s superstar status—that the press would go wild. The owner said yes, and Marilyn was there, front table, every night. The press went overboard … After that, I never had to play a small jazz club again. She was an unusual woman—a little ahead of her times. And she didn’t know it.”
Though it has often been reported that the club’s owner did not want to book Fitzgerald because she was black, it was later explained that his reluctance wasn’t due to Fitzgerald’s race; he apparently didn’t believe that she was “glamorous” enough for the patrons to whom he catered.
8. SHE WAS THE FIRST AFRICAN AMERICAN WOMAN TO WIN A GRAMMY.
Among her many other accomplishments, in 1958 Fitzgerald became the first African American woman to win a Grammy Award. Actually, she won two awards that night: one for Best Jazz Performance, Soloist for Ella Fitzgerald Sings the Duke Ellington Songbook, and another for Best Female Pop Vocal Performance for Ella Fitzgerald Sings the Irving Berlin Songbook.
9. HER FINAL PERFORMANCE WAS AT CARNEGIE HALL.
On June 27, 1991, Fitzgerald—who had, at that point, recorded more than 200 albums—performed at Carnegie Hall. It was the 26th time she had performed at the venue, and it ended up being her final performance.
10. SHE LOST BOTH OF HER LEGS TO DIABETES.
In her later years, Fitzgerald suffered from a number of health problems. She was hospitalized a handful of times during the 1980s for everything from respiratory problems to exhaustion. She also suffered from diabetes, which took much of her eyesight and led to her having to have both of her legs amputated below the knee in 1993. She never fully recovered from the surgery and never performed again. She passed away at her home in Beverly Hills on June 15, 1996.