Bloch’s interest in the psychological over the cosmic in his midcentury horror is obvious here; the way the story played out clearly owed much to Bloch’s novel Psycho (1959), which also used the old trappings of Lovecraftian horror as tossed aside props for an exploration of psychological issues. In “Weird,” it is the social issue of domestic violence that interests Bloch, though the final scene shows that the spell from De Vermis Mysteriis worked, and the dummy comes to life to free the wife from her abusive spouse.
“The Weird Tailor” was remade in 1972 as one of the episodes of the British horror compendium movie Asylum. In this incarnation, though, the story is condensed radically (though weirdly maintaining the Thriller dummy’s bizarre mustache), cutting out much of the Lovecraftian and nearly all the occult. The rich man is not developed except as a weird character descending at random into the tailor’s life. The domestic violence angle is much curtailed so the tailor can be seen as a more sympathetic character, and the wife’s morbid relationship with the dummy is all but absent, making her rescue by the dummy ineffective. Finally, to fit the conceit of the film (that each episode is the story of one asylum patient), the tailor lives, rendering the whole story moot. None of this is really an improvement.