What could have been? Often projects that begin with promise end in a muddled mess. Such is the development process. Elvira: Mistress of the Dark makes so many wrong-headed moves that make what could have been a Pee-Wee’s Big Adventure-style movie settle for less. However, the campy charm of the Character is never lost.
Elvira (Casandra Peterson) quits her job as host of Elvira’s Movie Macabre because her new slimeball boss is a Roger Allies-type. Just in the nick of time, Elvira learns that her aunt has left her an inheritance that could get her the Las Vegas Showgirl act that she’s always dreamed of. Cut to Elvira going to Fallwell, Massachusetts to get her claim, cash out, and head to Vegas. Well, things so close to Salem are never that easy. Enter a conservative town, horny teens, a dopey love interest, and an evil Warlock Uncle… Hijinks ensue.
Many of the issues stem from the script written by Peterson, Sam Egan, and John Paragon. The tone is so arched someone must’ve pulled an eyebrow muscle. The clichés come hard and fast. Every single character, especially the teenagers are so cardboard they would make better use as storage boxes. Nothing in the film has any life or originality. It does not help that James Signorelli directs the film in the same style as an episode of The Golden Girls.
One can see what Peterson wanted for her character. A fitting launch of a Film or TV series. Something left of center like her Groundlings compatriot Paul Rubens’ Pee-Wee Herman’s character. Both spent large amounts of time at the Improv Group refining their characters and even putting them on TV. The biggest difference was Rubens had a Studio that believed in his work and a young director (e.g. Tim Burton) who was a wildly talented stylist. Unfortunately, none of that happened for Elvira and the film. It’s too bad because there are possibilities for something truly special, and it still is.
Who knows maybe this is a franchise ripe for rebooting.
The Transfer
The movie may not be great but the brand-new 4K restoration in Dolby Vision (HDR10 compatible) by Arrow Films is nothing short of spectacular. Arrow Video has created a transfer that is the best that Elvira has ever looked. The Contrast and Black Levels are balanced giving a film that’s mostly shot at night a beautiful look. The grain structure and sharpness give this release a razor-sharp but filmic look. Fans of this film will be delighted by the film’s stunning 4K Transfer.
The Extras
They include the following;
Introduction to the film by director James Signorelli
2017 audio commentary with director James Signorelli, hosted by Fangoria editor emeritus Tony Timpone
Archival audio commentary with actors Cassandra Peterson and Edie McClurg and writer John Paragon
Too Macabre – The Making of Elvira: Mistress of the Dark – 2018 version of this feature-length documentary on the making of the film, including interviews with various cast and crew and archival material
Recipe for Terror: The Creation of the Pot Monster – 2018 version of this featurette on the concept and design of the pot monster, as well as the film’s other SFX
Original storyboards
Extensive image galleries
Original US theatrical and teaser trailers
The first Audio Commentary is with Cassandra Peterson, Edie McClurg, and John Paragon. This is not a serious track but it’s very lighthearted and informational. The trio beings with their bonafides and what they did for the film and the film that opens in the film. Some of the details include how the opening moments with Elvira filming between the 11 o’clock News and the 5 am News was taken from real life; the trio being in Peewee’s various projects – McClurg and Paragon in the original show and Peterson being in Big Adventure; their wanting Danny Elfman to do the score but could not get him; the work of Costume Designer Besty Heimann; the fact they were forced to add teenage characters into the film; the role that Brad Pitt would have played if cast; the trouble with filming on the Universal Lot; working with the dogs that appears in the film as Vinnie; a larger discussion of their time at the Groundlings throughout; a larger discussion of the various hidden easter eggs; a larger discussion of the various actors that appear in the film; and much more. There is some description of what’s going on the screen but not to a distracting degree. There is an easy chemistry between the three. Cassandra aka Elvira does give us some great anecdotes from her Movie Macabre the real show she did in LA during the 80s.
The second Audio Commentary is with James Signorelli and Tony Timpone discusses Signorelli’s second film (after Easy Money) and his time on SNL filming the various Faux TV Ads that appeared in the 1980s. Some of the details include the time it took for Peterson to get into the Elvira makeup and costume; the find and building of the Elvira-mobile – and Peterson having kept it; working with Peterson and McClurg who were friends from the Groundlings and how that informed both performance and directing them; the fact that the role of Uncle Vinny was written for Vincent Price, whom Peterson was friends with; the work of production designer John DeCuir Jr.; the work of screenwriter John Paragon; a larger discussion of the various sets (on the Universal Lot), and locations used during the production; a larger discussion of the various cameos and actors that appear in the film; and much more. Timpone a former editor at Fangoria hosts the commentary and guides the director through the commentary prompting the director for anecdotes and stories. The track does have some big gaps so silences.
Audio Commentary with Patterson Lundquist. Lundquist is the “webmaster” for Elvira.com and one of the hosts for a show called “The Next Elvira”. Lundquist’s commentary does give some pretty interesting trivia and information about the production but has a lot of dead space. So much dead space I really did not have anything to fill this with. I would pass on this track as the other two are filled with more information about Elvira the character, the TV show, and this movie.
Director’s Intro (1:09) – I’m unsure if this is a joke or what but this is pretty painful to watch James Signorelli push through trying to do this intro.
Too Macabre – the making of Elvira Mistress of the Dark (97:07) – This is a feature-length making of how the movie came to be. The making-of starting with what could have been a TV-Sitcom, the barrier that stopped them from going from that to making a movie. The feature gives some great anecdotes like Brad Pitt auditioning for one of the characters, a discussion of the production scene by scene, the various makeup and effects scenes (notably the Explosion at the beginning of the scene), the troubles and arguments with the budget and the ending (the Vegas show finale) and how it came together during post-production, the release (the insane premiere), its box office failure and cult status today. The doc features interviews with actors Casandra Peterson, Kris Kamm, Edie McClurg, Ira Heiden, Daniel Greene, Susan Kellerman, William Morgan Shepard, Writers Sam Egan & John Paragon, Director James Signorelli, Producer Eric Gardner, Makeup-Effects Artist
Recipe for Terror: The Creation of the Crock-Pot Monster (22:12) – is an archival featurette on the creation of the Pot Monster, not what you think, which was not discussed during the making-of feature. They do discuss other effects, but the primary focus is the design and execution of the monster. Featuring interviews with Director James Signorelli, effects artist Steve Laporte, Yancy Calzada, and Larry Nikolai.
The Image Galleries are broken down into 6 different submenus.
Production Stills – consists of 89 stills that run automatically or can be navigated by using your next and back chapter stop buttons.
Behind the Scenes – consists of 32 stills that run automatically or can be navigated by using your next and back chapter stop buttons.
SFX – consists of 68 stills that run automatically or can be navigated by using your next and back chapter stop buttons.
Original Storyboards – consists of 33 detailed storyboards from various scenes that run automatically or can be navigated by using your next and back chapter stop buttons.
New York City Premiere– consists of 8 stills that run automatically or can be navigated by using your next and back chapter stop buttons.
Miscellaneous – consists of 10 various pieces of poster art, premiere tickets, etc. that run automatically or can be navigated by using your next and back chapter stop buttons.
Original US Theatrical Trailer (1:48)
Original Teaser Trailer (1:06)
The Final Thought
Arrow Video has given Elvira: Mistress of the Dark an excellent 4K with a brand new transfer to boot.
Elvira: Mistress of the Dark gets a 4K UHD upgrade thanks to Arrow Video.
The Film
What could have been? Often projects that begin with promise end in a muddled mess. Such is the development process. Elvira: Mistress of the Dark makes so many wrong-headed moves that make what could have been a Pee-Wee’s Big Adventure-style movie settle for less. However, the campy charm of the Character is never lost.
Elvira (Casandra Peterson) quits her job as host of Elvira’s Movie Macabre because her new slimeball boss is a Roger Allies-type. Just in the nick of time, Elvira learns that her aunt has left her an inheritance that could get her the Las Vegas Showgirl act that she’s always dreamed of. Cut to Elvira going to Fallwell, Massachusetts to get her claim, cash out, and head to Vegas. Well, things so close to Salem are never that easy. Enter a conservative town, horny teens, a dopey love interest, and an evil Warlock Uncle… Hijinks ensue.
Many of the issues stem from the script written by Peterson, Sam Egan, and John Paragon. The tone is so arched someone must’ve pulled an eyebrow muscle. The clichés come hard and fast. Every single character, especially the teenagers are so cardboard they would make better use as storage boxes. Nothing in the film has any life or originality. It does not help that James Signorelli directs the film in the same style as an episode of The Golden Girls.
One can see what Peterson wanted for her character. A fitting launch of a Film or TV series. Something left of center like her Groundlings compatriot Paul Rubens’ Pee-Wee Herman’s character. Both spent large amounts of time at the Improv Group refining their characters and even putting them on TV. The biggest difference was Rubens had a Studio that believed in his work and a young director (e.g. Tim Burton) who was a wildly talented stylist. Unfortunately, none of that happened for Elvira and the film. It’s too bad because there are possibilities for something truly special, and it still is.
Who knows maybe this is a franchise ripe for rebooting.
The Transfer
The movie may not be great but the brand-new 4K restoration in Dolby Vision (HDR10 compatible) by Arrow Films is nothing short of spectacular. Arrow Video has created a transfer that is the best that Elvira has ever looked. The Contrast and Black Levels are balanced giving a film that’s mostly shot at night a beautiful look. The grain structure and sharpness give this release a razor-sharp but filmic look. Fans of this film will be delighted by the film’s stunning 4K Transfer.
The Extras
They include the following;
The first Audio Commentary is with Cassandra Peterson, Edie McClurg, and John Paragon. This is not a serious track but it’s very lighthearted and informational. The trio beings with their bonafides and what they did for the film and the film that opens in the film. Some of the details include how the opening moments with Elvira filming between the 11 o’clock News and the 5 am News was taken from real life; the trio being in Peewee’s various projects – McClurg and Paragon in the original show and Peterson being in Big Adventure; their wanting Danny Elfman to do the score but could not get him; the work of Costume Designer Besty Heimann; the fact they were forced to add teenage characters into the film; the role that Brad Pitt would have played if cast; the trouble with filming on the Universal Lot; working with the dogs that appears in the film as Vinnie; a larger discussion of their time at the Groundlings throughout; a larger discussion of the various hidden easter eggs; a larger discussion of the various actors that appear in the film; and much more. There is some description of what’s going on the screen but not to a distracting degree. There is an easy chemistry between the three. Cassandra aka Elvira does give us some great anecdotes from her Movie Macabre the real show she did in LA during the 80s.
The second Audio Commentary is with James Signorelli and Tony Timpone discusses Signorelli’s second film (after Easy Money) and his time on SNL filming the various Faux TV Ads that appeared in the 1980s. Some of the details include the time it took for Peterson to get into the Elvira makeup and costume; the find and building of the Elvira-mobile – and Peterson having kept it; working with Peterson and McClurg who were friends from the Groundlings and how that informed both performance and directing them; the fact that the role of Uncle Vinny was written for Vincent Price, whom Peterson was friends with; the work of production designer John DeCuir Jr.; the work of screenwriter John Paragon; a larger discussion of the various sets (on the Universal Lot), and locations used during the production; a larger discussion of the various cameos and actors that appear in the film; and much more. Timpone a former editor at Fangoria hosts the commentary and guides the director through the commentary prompting the director for anecdotes and stories. The track does have some big gaps so silences.
Audio Commentary with Patterson Lundquist. Lundquist is the “webmaster” for Elvira.com and one of the hosts for a show called “The Next Elvira”. Lundquist’s commentary does give some pretty interesting trivia and information about the production but has a lot of dead space. So much dead space I really did not have anything to fill this with. I would pass on this track as the other two are filled with more information about Elvira the character, the TV show, and this movie.
Director’s Intro (1:09) – I’m unsure if this is a joke or what but this is pretty painful to watch James Signorelli push through trying to do this intro.
Too Macabre – the making of Elvira Mistress of the Dark (97:07) – This is a feature-length making of how the movie came to be. The making-of starting with what could have been a TV-Sitcom, the barrier that stopped them from going from that to making a movie. The feature gives some great anecdotes like Brad Pitt auditioning for one of the characters, a discussion of the production scene by scene, the various makeup and effects scenes (notably the Explosion at the beginning of the scene), the troubles and arguments with the budget and the ending (the Vegas show finale) and how it came together during post-production, the release (the insane premiere), its box office failure and cult status today. The doc features interviews with actors Casandra Peterson, Kris Kamm, Edie McClurg, Ira Heiden, Daniel Greene, Susan Kellerman, William Morgan Shepard, Writers Sam Egan & John Paragon, Director James Signorelli, Producer Eric Gardner, Makeup-Effects Artist
Recipe for Terror: The Creation of the Crock-Pot Monster (22:12) – is an archival featurette on the creation of the Pot Monster, not what you think, which was not discussed during the making-of feature. They do discuss other effects, but the primary focus is the design and execution of the monster. Featuring interviews with Director James Signorelli, effects artist Steve Laporte, Yancy Calzada, and Larry Nikolai.
The Image Galleries are broken down into 6 different submenus.
Original US Theatrical Trailer (1:48)
Original Teaser Trailer (1:06)
The Final Thought
Arrow Video has given Elvira: Mistress of the Dark an excellent 4K with a brand new transfer to boot.
Arrow Video’s 4K UHD Edition of Elvira: Mistress of the Dark is out now.
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