I wonder if Warner Home Video could be persuaded to license MYSTERY OF THE WAX MUSEUM to a company like Criterion, and if Criterion could be persuaded to release a special edition. I believe that Warner Home Video under-estimates the value and popularity of this film. MYSTERY OF THE WAX MUSEUM has been released twice, first as a bonus at the end of the remake, HOUSE OF WAX (1953), and later as a bonus in its own keepcase, shrinkwrapped with the 2005 "remake" starring Paris Hilton as a Walmart exclusive. Both editions treat the film as an afterthought, as if it had no other value than to support remakes. Yet appreciation for the film has increased over the years, thanks to these two perfunctory releases and occasional airings on AMC and TCM. Film buffs have come to recognize its qualities and most people consider it infinitely superior to the remakes. MYSTERY OF THE WAX MUSEUM is an important film for many reasons. The film has an interesting history, starting out as a successful stage play inspired by earlier wax museum films. Its development at the studio and the decision to try out the new color process on this particular title is another interesting story. What this story is about and how it's being told should be addressed in the commentary, at least one commentary. Part hardboiled gangster classic, part horror innovation, the film is a time-capsule of early 1930s Art-Deco production design on the First National / Warner backlot. It is brilliantly designed, photographed, and directed by Michael Curtiz. It is an early experiment in the 2-color Technicolor process, and in my opinion, an experiment that is technically and creatively successful. It was a major release that received major attention in 1933, and today it is regarded as an important film from that era. Perhaps Criterion could bind the screenplay with the stage play and include that in one of their book-and-DVD box-sets. Original trade ads, news articles, contemporary reviews and recent essays could fill a thick booklet. MYSTERY OF THE WAX MUSEUM could also be paired with both versions of DOCTOR X, the 2-color experiment and its monochrome alternate, both shot back-to-back by Michael Curtiz the year before. DOCTOR X is another title that has not received its due on DVD, released as part of the ICONS OF HORROR compilation without the monochrome alternate or supplements. Further, Vitaphone / First National / WB produced some short-subject films in the 2-color process that could supplement the DVD set. I forget what they are called, but I remember seeing them on AMC's restoration festival some 12-odd years ago before that network lost its presence of mind. One of the shorts was a musical comedy in the horror vein that experimented with the unstable color of red. It had red fog and red flames and a red devil, too. Pairing MYSTERY OF THE WAX MUSEUM together with DOCTOR X is also an opportunity to provide documentaries on the stars of both films, Lionel Atwill and Fay Wray, both popular actors of the time who are horror icons today. It is also a fitting occasion to talk technical and explain the trials and tribulations of Technicolor's early 2-strip process. Although primitive, the 2-strip process resulted in a kind of antique color pallet that many of us find aesthetically pleasing. Properly transferred and mastered, MYSTERY OF THE WAX MUSEUM would prove its popularity and cement its reputation on DVD.