The Four-Color Return of Dr. Phibes

A look at how Dr. Phibes made his unexpected comeback in comics, exploring his cult‑classic horror legacy and the strange new stories that revived him in four‑color form.

Two of the strangest movies I’ve ever seen — The Abominable Dr. Phibes (1971) and its sequel Dr. Phibes Rises Again (1972) — have somehow clawed their way into my list of all‑time favorites. These films are a fever dream of art‑deco horror, black comedy, and Vincent Price doing what Vincent Price does best: being absolutely mesmerizing while barely moving his lips.

Price plays Dr. Anton Phibes, an organist, theologian, and revenge‑driven mastermind who blames a team of doctors for botching the surgery that killed his beloved wife, Victoria. In the first film, Phibes dispatches each doctor in gloriously theatrical murders inspired by the Ten Plagues of Egypt. And in the finale — set to a haunting rendition of “Over the Rainbow” — he seals himself in suspended animation beside his wife’s body. It’s macabre, melodramatic, and strangely beautiful.

The sequel isn’t quite as strong, but it’s still a wild ride. Phibes awakens, dusts himself off, and heads to Egypt to resurrect Victoria using an ancient ritual. As always, he’s accompanied by the mysterious Vulnavia, who glides through scenes like a silent art‑nouveau assassin.

Phibes himself is a spectacle: a man so disfigured by a fiery car crash that he hides behind a mask and wig, speaking only through a gramophone. He’s equal parts Phantom of the Opera, mad scientist, and camp icon — a villain who kills with style, flourish, and a surprising amount of whimsy.

What I didn’t expect was that Phibes’ legacy didn’t end with the films. Over the years, he’s resurfaced in magazine retrospectives, unofficial novels, and — most surprisingly — comic books. Yes, Dr. Phibes made the leap to four‑color pulp.

In 2009, Bluewater Comics resurrected him in Vincent Price Presents, and the results are… fascinating.

Issue #13, “The Deadly Comedy,” brings Phibes back to his old tricks, with Inspector Trout once again trying (and failing) to keep up. A mysterious man calling himself Thanatos matches wits with Phibes, and we eventually learn he’s Victoria’s father. Phibes attempts to summon an ancient god, everything collapses (literally), and the story ends abruptly. It’s probably the strongest of the Phibes comics, but it still feels like a one‑shot that stops just when it starts getting good. Unlike the films, there’s no “Over the Rainbow” to soften the landing.

Issue #14 goes in a completely different direction. Suddenly Phibes is in the United States, with Trout and his nephew teaming up with the NYPD to stop a series of murders tied to a bizarre plot involving the World Trade Center and a portal opening on New Year’s Eve 2000. It’s only part one of the story, and while we never tracked down the second issue, it apparently appears much later in Vincent Price Presents #28.

All of these stories — plus a prequel — were collected in Vincent Price Presents: The Seven Lives of Dr. Phibes. The prequel is the oddest of the bunch, suggesting Phibes had an affair with Vulnavia before Victoria’s death and even implying he surgically removed her ability to speak. It’s a strange tonal shift that doesn’t feel true to the character, but it’s certainly… memorable. The trade is available on Kindle if you’re curious.

Anton Phibes is one of the rare villains who can carry his own stories. Batman’s Joker is another. (Editor’s note: Darth Vader doesn’t count — under all that black leather are Hayden Christensen’s abs.) Phibes isn’t an anti‑hero, and he’s not meant to be sympathetic. Yet he’s endlessly watchable, whether he’s orchestrating poetic murders or delivering silent monologues through a gramophone.

Could Phibes be reimagined for modern cinema? Maybe. But without Vincent Price’s velvet menace, I’m perfectly content letting his legacy remain in those two gloriously bizarre films — always ending, as they should, with that chilling, off‑kilter “Over the Rainbow.”