When it comes to iconic characters that are derived from popular television shows, there’s always a temptation to expand on their reputation by giving them their own films, and while many of these have been quite successful, there are an equal amount that are simply not very good, proving that what works in one medium may not necessarily work in another. However, when someone is capable of taking a character and finding a home for them on the big screen that feels both faithful to the original intentions of creating this figure, but also carries a sense of artistic integrity in itself, the results can be wonderful. This was the case for Elvira: Mistress of the Dark, which served as the cinematic debut of the titular spooky, well-endowed horror icon, as played by the incredible Cassandra Peterson. Known for hosting late-night screenings of classic horror films on her self-titled show, having Elvira be the subject of her own irreverent film seemed like a logical choice, but one that still took quite a bit of work, especially in how there needed to be some degree of effort put into expanding this far beyond what audiences were used to seeing when it comes to the character. However, as simple as it may appear, Elvira: Mistress of the Dark is a wildly entertaining film that knows exactly what it aimed to do with some of its more conventional material, finding the intricate details that exist just below the surface, and offering us an endless amount of genuine fun and authentic thrills, which is all that we often require from a solid horror comedy, which is able to deconstruct the genre, while still honouring it at the same time, which we found frequently being the case in the creation of this film.

One of the most admirable qualities of Elvira: Mistress of the Dark is how it manages to take very paltry material and transform it into a strong story. Prior to this film, all the lore related to the character of Elvira was contained in very small segments, since she mostly existed as a hostess of a television show, with her ambiguity and origin being kept intentionally vague. There wasn’t much material that screenwriters John Paragon and Sam Egan (both of whom had a strong working relationship with Peterson, going back to their previous television productions) could work with in crafting a story that features the character at its heart – but this didn’t stop them from working closely with Peterson, who is credited as a co-writer, mainly in how she helped them (along with director James Signorelli, another collaborator that understood the intrinsic details of what the character is supposed to represent) in shaping a narrative that paid sufficient tribute to the character she had so lovingly nurtured for many years on television, but who she was now ready to bring out of the studio and into a much broader setting, which was the impetus for this film, and one of its most intriguing traits, which elevates it to a level of extraordinary complexity, especially in comparison to other similar works, which often struggle to find the perfect balance between what viewers most commonly associated the character with, and the new and exciting ideas that were implemented to aid in the transition between media – and Elvira: Mistress of the Dark succeeds in using both components in the creation of a delightfully irreverent dark comedy that acknowledges the elements we adore about the character, and uses them effectively to create something wonderful all on its own.

Despite being well-aware of her image that has become a staple of camp horror cinema, we don’t speak enough about how Elvira is a true horror icon, someone that can stand alongside any of the more serious characters that are more commonly associated with the genre. Peterson had an unenviable challenge ahead of her when it was decided that her character was to be the subject of a feature-length film, especially since she was ultimately the most prominent authority on the character of Elvira, and the person who had the most to lose should the project be a disaster. However, as much as she is an iconic presence, Elvira has always worked as a character because she is performed well – even if only present for short amounts of times as the host of her show that appeared sporadically to offer an introduction or haunting conclusion, Peterson frequently showed so much dedication to this character, which is translated beautifully into this film. Peterson is a quintessential performer, and she has found so much success inhabiting the skin of Elvira, with the character becoming so much a part of her, even referring to Peterson by her name, rather than her drag persona, feels like a betrayal of the spirit of the character. The film honours Elvira in a way that many films that aim to bring a character from one medium to another often tends to fail. Elvira: Mistress of the Dark captures the essence of the character in a way that is remarkably impressive – going from a few short quips and a lustful stare that aims to complement a film, to the focal point of a different work entirely is not particularly easy on its own, so being able to effectively translate the qualities that worked on television onto a much broader platform is far from an unworthy achievement, and its something Peterson and her collaborators manage to do quite effectively throughout this delightful and irreverent film.

However, as much as we can remark on how this film may have appeared like an attempt for Peterson to position herself as a movie star, Elvira: Mistress of the Dark was more than just a vanity project, rather serving as a brilliant deconstruction of a genre that is often associated with the character. The idea of “too much” is not part of this film’s working vocabulary – no matter how hard one tries, it would have been impossible to go too far with this story, and for every moment of excess, there is something to remind us that this is all part of some heightened, intentionally absurdist perspective that is created to parody the exact brand of horror films that the character would normally be criticizing, as part of the show that introduced her to the general public. The combination of bizarre humour with some genuinely clever ideas makes for a suitably entertaining work that may be extraordinarily strange, but is anything but predictable, with the genuine sense of surprise that we encounter being worth the sometimes derivative method of arriving at these points, which is credit to how smart and compact the screenplay is, especially in how it handles some of the more abstract material in a way that is intelligent but not necessarily heavy-handed, with many of the references certainly being targeted at those with a penchant for popular culture more than just casual viewers, which is likely why Elvira: Mistress of the Dark is seen as much more of a cult film than it is one that is widely embraced by the broader audience.

Considering the wealth of films produced during this era in which comedy and horror were merged, it is unsurprising that Elvira: Mistress of the Dark would be flying under the radar, since this is not a film that is particularly memorable on its own. While the viewer does not need to have an extensive knowledge on the main character and the circumstances surrounding her creation, it is certainly helpful, since a lot of the film draws on the popular lore, with the small references likely being lost on anyone not at least somewhat familiar with her origins. However, even in isolation, Elvira: Mistress of the Dark is a terrific film that offers a strong sense of unique comedy that is taken from the more punk side of the popular culture, which was slightly more rare for the period in which the film was made, but logical according to the specific details that have made Elvira such an unexpectedly complex protagonist. This is purely unhinged comedic brilliance from beginning to end, carefully curated by a director who appreciates the character as much as he does the world in which she resides. It’s a wildly entertaining, peculiar film with as much heart as it has humour, and its off-kilter comedy and genuinely endearing storyline makes this a really remarkable convergence of humour and horror that reminds us of the perfection that can come when both are used well. Elvira: Mistress of the Dark is a tremendously fun film that gives a platform to a true icon of contemporary horror, becoming an endlessly quotable and suitably iconic work of intentional excess, which has never been more appropriate than under the guidance of the gleefully deranged Elvira and the entertaining chaos she always leaves in her wake.