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Vincent Price brings a theatrical flourish to the role of Roderick Usher, a brooding nobleman haunted by the dry rot of madness in his family tree. This being Poe, there's a history of family madness and melancholia, a premature burial, and a sense of doom hanging over this gloomy, crumbling mansion. Roger Corman sold stingy AIP pictures on the concept by claiming "The house is the monster," or so goes the oft-told story. True or not, Corman (with the help of his brilliant art director Daniel Haller and legendary cinematographer Floyd Crosby) creates an exaggerated sense of isolation and claustrophobia with the sunless forest and funereal fog that holds the house and its inhabitants prisoner in a land of the dead. It doesn't quite look real (some of the effects are downright phony, notably the apocalyptic climax), and none of the costars can hold a candle to Price's elegant, haunted performance (often speaking in no more than a stage whisper), but it's a triumph of expressionism on a budget. Shot in rich, vivid color and CinemaScope, from a literate script by genre master Richard Matheson, this is stylish gothic horror in a melancholy key. It was such a success that Corman reunited his core group of collaborators for the follow-up The Pit and the Pendulum the very next year. Corman's "Poe Cycle" was born.MGM's widescreen disc also features commentary by director-producer Corman, his first-ever such contribution. --Sean Axmaker ... Read more

Reviews (37)

Lavish Gothic horror`
This was the first film that Roger Corman made, when he hit upon the idea of adapting the Edgar Allen Poe classics, and it's the best one. Apparently, it was a huge success when first released, and it still retains much of it's power. Vincent Price plays the tormented Roderick Usher, last in the line of a cursed family living in a crumbling mansion. An outsider comes with the intention of marrying his sister, and soon the horrible truth is revealed. Much of the film looks beautiful, colours are deep and lavish, and the set of the house is suitably creepy, with ghoulish portraits of all the hideous Usher ancestors lining the walls. The cast is small, and Price chews his way through his part as ever, with many flowery speeches and gestures, but the film still delivers, especially in the spectacular fiery climax. Obviously, they aren't making them like this any more, and it all looks a bit dated, but as an example of 60's costume horror, it looks great.

classic VINCENT PRICE at its best
Vincent price is the "Lord of Horror" according to me. The Fall of the House of Usher is a classic horror movie that is very enjoyable. A great story, just great.

The story is based on an Edgar Alan Poe story. Roger Corman, the director, was the first to bring Poe poem to the silver screen; and here it is!

The story pulls you into it and you get a real feeling for the characters. The acting is what it is for that time period; enough said. This is a classic horror film! GET IT AND LOVE IT

"I heard her first feeble movements in the coffin..."
Director Roger Corman and AIP had great success relating the tales of Edgar Allan Poe to the screen, and it all started here with The Fall of the House of Usher (1960). While not always exactly faithful to the source material (how many are?), the films sure are fun to watch.

House of Usher stars Vincent Price as Roderick Usher, Myrna Fahey (who once dated Joe DiMaggio and received a death threat because a deranged fan couldn't stand to see DiMaggio with anyone other than Marilyn Monroe) as his sister Madeline Usher, Mark Damon as her fiancé Philip Winthrop, and Harry Ellerbe as Bristol, the butler. Scripted by famed horror/fantasy/sci-fi writer Richard Matheson, who also worked on the later Corman/Poe/AIP films like Pit and the Pendulum (1961), Tales of Terror (1962), and The Raven (1963), The Fall of the House of Usher marked new ground for AIP and Corman. Previously, the studio was content in putting out two black and white films at the same time for minimal cost, Corman convinced the studio heads to take the money to make two of those films and let him use it to make one film in color, and the result, this film, turned out to be a huge box office draw in 1960.

Anyway, the film starts off with Philip riding up to a massive, dark, and as we find out later, crumbly house of Usher. The grounds around the house show no signs of life, but only death and decay. The house actually looks a lot like the creepy house you always see that the beginning of those old Scooby Doo cartoons. Seems he's come to see about his fiancée Madeline, as they had met in Boston where they both lived, and she has since returned home. This is when we meet Roderick Usher, a handsome, yet odd sort of fellow, who we learn has a painfully acute sensitivity of all the senses, preferring the dimmest of light, the blandest of food, the softest of clothing, the mildest of odor, and the quietest of sounds. We also learn, from Roderick, that Madeline is sick, and no one is allowed to see her. Philip, not understanding what's going on, refuses to leave until he can see Madeline, and Roderick finally acquiesces. She seems all right, but later we learn what the sickness is...one, not so much of body, but of a madness supposedly passed down through the Usher lineage. You see, the house and the grounds were once fertile, and full of life, but evil overtook the Usher line, displayed in the many crimes perpetrated by the various ancestors, poisoning the family and the estate, or so says Roderick. The presence of malignance is so oppressive, it's causing the centuries old house to crumble under its' own weight. I personally think it's due to lack of upkeep, but what do I know? Anyway, Philip pushes to take Madeline away from the house, but Roderick is intent on keeping her there until such time as she and he pass, effectively ending the Usher family line. His fear is that she should leave and procreate, extending the evil that has survived so long. The question of evil and its' ability to be passed down is brought up, along with the idea of evil being not so much limited to an abstract idea but a real, almost tangible quality that infects and destroys people and objects. Where does evil live? In the mind? The soul? Can it be transferred? Can a place, with a history of evil acts performed within, actually become so seeped in evil that it becomes evil itself?

Well, soon Madeline suffers a heart attack and passes, due to all the excitement that Philip has brought, so says Roderick. Madeline is put into the family crypt in the basement (that's convenient), but is she really dead? Maybe not...seems there's a history of narcolepsy, a disorder characterized by sudden and uncontrollable, though often brief, attacks of deep sleep, sometimes accompanied by paralysis and hallucinations and would sometimes make the sufferer to appear dead, in the Usher family. Did Madeline suffer from such a malady? If so, then I'd hate to be her when she wakes....

The film moves along nicely, except for maybe the dream sequence. Corman always seemed to like throwing in crazy dream sequences in his Poe productions, and sometimes they helped add to the film, sometimes they sort of ground the proceedings to a halt, in my opinion. Never being really a big fan of the cinematic dream sequence anyway, this one, at least, was short. Price and his costars all do a wonderful job, and I especially liked Fahey near the end. Price seems to envelope the role of Roderick Usher, fitting into character perfectly. If I ever read the actual Poe story, I know I'll always have a picture in my mind of Price as Roderick. What an interesting visage she provides...very scary, even for the hardened horror fan. The music, by the accomplished composer Les Baxter, really complements the visuals in creepy fashion, filling out the overall effect provided by really excellent sets.

The wide screen print here looks really good, but there are occasions where speckling and print damage were noticeable. It's very slight, and did little to lessen my enjoyment of the film. Special features include a theatrical trailer for the film, and a separate commentary track by Corman himself. I have to say, I think this is not only one of the best Corman/Poe films of the eight that were made, but one of Corman's best films period.

Cookieman108

THE FALL OF ACTING COMPARED TO NOW!!!!
The story and plot was great!!! It had great storyline and the actual story was marvelous. There were some bad parts to this movie even so. I think the acting was just ok, partly because it was made over 60 years ago. Some of the special effects and props looked so fake. The best part to this movie was the part when Madeline goes mad and comes out of her coffin. SHe has bloody hands and drips a trail of blood up to her brother's bedroom. I like all teh blood on the doorknob. The music also added to the suspense. All in all it was great!!

TAINTED BLOOD......
The first of Roger Corman's Poe cycle films is probably the most simple. A cast of four and a spooky old house are the characters. The house being a malignant symbol of the evil and depravity lived in it by the Usher family. Roderick Usher (Vincent Price) and his sister Madeline (Myrna Fahey) are the sole surviving members attended to by the long suffering family servant Bristol (Harry Ellerbe). Roderick, pale, clean shaven and with white hair, is hypersensitive to light, sound, touch and taste. He is convinced that he and Madeline suffer the curse of the Ushers---incipient madness. When Madeline's fiance Philip (Mark Damon) comes for her to marry her, Roderick forbids Madeline to leave. He doesn't want their tainted blood to continue. Philip refuses to believe Roderick's morbid stories and refuses to leave without Madeline. But he notices that the house is crumbling, cracking and shaking as if it wants to fall apart---as if the house itself is tired of bearing the curse. Then Madeline suffers a cataleptic stroke and falls into a coma, causing Roderick to declare her dead and bury her in the family crypt. But things are not as they seem and soon Madeline's screams can be heard throughout the house. Then things REALLY hum. "House of Usher" is low budget but Corman does wonders with minimilism. The use of red, normally a vibrant color, is used here to depict morbidity and death. Red candles, red furniture upholstery, Madeline's blood red dinner gown, Roderick's jackets and Madeline's own blood---all vividly captured amid the dark gloom of the house. Price gives another of his patented eccentric performances but who else could deliver lines based on Poe so well? Richard Matheson's script is efficient and literate leaving little room for open ends. Damon and Fahey are well suited as the lovers if a little inexperienced next to Price. And Les Baxter's score is moody and spooky. For 80 minutes, this is a pretty tight little film. Certainly one of the better horror films ever made. If you're a fan of the Price/Corman/Poe films this is the first and a collector's item. ... Read more

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Embittered by his experience working with 20th Century Fox on The St. Valentine's Day Massacre (1967), and weary of the Poe films for American International Pictures, Roger Corman was in dire need of inspiration for his next production. He found it in Life magazine, which featured a photo of the funeral of Mother Miles, head of the Sacramento, California, Hell's Angels. From this picture came both The Wild Angels and the biker-movie genre itself. Peter Fonda, who replaced George Chakiris, stars as brooding Angels chieftain Heavenly Blues. When his pal Loser (Bruce Dern) is shot by police, Blues attempts to bury him in a small town, but the locals resist, and a brawl ensues. Audiences and critics were alternately appalled and thrilled by the extensive drug use and violence, but beneath Angels' leathery hide beats the heart of a Western, especially in its ruminations on personal freedom. Charles Griffith's script (cowritten by Peter Bogdanovich, who also cameos in the film) helped make Angels the sole U.S. entry for the 1966 Venice Film Festival, which irked the State Department enough to try and revoke the honor. Corman's direction, freed from AIP's period pieces, is lean and exuberantly active, aided by Monte Hellman's editing. The film helped give Fonda the counterculture clout to later make Easy Rider, and boosted the careers of Dern and then-wife Diane Ladd; Nancy Sinatra, however, renounced the picture, fearful of its effect on her image. Mike Curb's score features Davie Allan and the Arrows' fuzz-tone-soaked hit "Blues' Theme." --Paul Gaita ... Read more

Reviews (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

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The Fall of the House of Usher's success in 1960 spurred American International Pictures to quickly launch another production based on an Edgar Allan Poe story. While producer-director Roger Corman had hoped to next adapt "The Masque of the Red Death" (which wasn't produced until 1964), Pit and the Pendulum (the onscreen title) became the second in AIP's long-running Poe series. Set in post-Inquisition Spain, the film stars John Kerr as a young Englishman who travels to the seaside castle of his brother-in-law (Vincent Price) to uncover the circumstances behind the death of his sister (a dubbed Barbara Steele). Price is tormented by memories of his mother's premature burial by his inquisitor father (also Price) and fears that this sadistic legacy has contributed to Steele's demise. Furthermore, he believes that Steele was also buried alive--a belief compounded by the mysterious destruction of her room, and the sound of her harpsichord playing in the night...

Structured almost identically to Usher, Richard Matheson's script fleshes out the brief original text with a fast-paced and twist-filled plot that never loses sight of the psychological themes of Poe's work. It also provides Price with the richest of his many AIP/Poe roles, a sympathetic, deeply emotional man who is unhinged by the sins of his father. Corman's direction is equally driven and fluid, and features some impressive quasi-psychedelic visuals in the tense climax. Also noteworthy is art director's Daniel Haller's impressive design of the title set piece. MGM's widescreen DVD features commentary by Corman, which focuses primarily on the film's technical aspects. Also included is the original trailer and a prologue (shot by Norma Rae producer Tamara Asseyev) featuring costar Luana Anders, which was added to fill out the film's 1968 television broadcast. --Paul Gaita ... Read more

Reviews (30)

Vincent's Finest Hour? I Think It Might Be!
"Pit And The Pendulum" is definitely one of those "watch it late at night with the lights out during a thunderstorm" kind of motion pictures. All the elements are present here to elicit the appropriate "scary movie" emotions from the viewer -- Shock, terror, suspense, fright, uneasiness, and fear. (And maybe a few others as well.)

The setting of this 1961 film couldn't have been better presented on screen if they had tried. And Vincent Price, who was 50 years of age when the film was first released, gives a lively performance as "Don Nicholas Medina", a man who is slowly but surely going out of his mind.

The climactic scene in the "Pit" is simply astonishing. One of the best scenes in any horror film ever made!

This MGM DVD contains a Widescreen version of this color film (2.35:1 ratio). And, although not an Anamorphic (enhanced for 16x9 TV sets) disc, this DVD still offers up better-than-average video quality. The audio is Dolby Digital Mono (English and French tracks). Plus: this cover art is exceptional.

A few bonus items are on the disc, including a fun audio commentary by Director Roger Corman. The Original Theatrical Trailer and an "Original Theatrical Prologue" are also included here.

Before his death on October 25, 1993 (at age 82), Vincent Price appeared in 127 feature films (plus hundreds and hundreds of TV shows and radio plays) --- with "Pit And The Pendulum" being one of his very best, in my view.

If you like scary, atmospheric motion pictures, you have no choice but to be entranced when watching this DVD of "Pit And The Pendulum".

THE PENDULUM SWINGS......
The second of the Corman/Price/Poe films is a masterwork of Gothic horror and features one of Vincent Price's most outre' performances. He's Don Nicolas Medina, son of an infamous Spanish inquisitioner going mad in an eerie castle off the coast of Spain after the unusual "death" of his wife Elizabeth (Barbara Steele). Elizabeth's brother Francis comes to the castle seeking information on his sister's death and the terror begins as the ghost of Elizabeth seems to be roaming around causing Nicolas to feel he buried her prematurely. Flashbacks explain Elizabeth's weird "death" and Nicolas's own childhood trauma witnessing his insane father (also Price) torture his mother and wall her up alive in the torture chamber. But Elizabeth is anything but dead and Nicolas goes over the edge becoming his own father in madness and putting the dreaded Pendulum kept in the Pit to use...with Francis as his victim. Elizabeth gets her own just rewards in the torture chamber. Beautiful Gothic mounting, costumes and a tight script by Richard Matheson keep this completely watchable throughout. Good acting from Steele, John Kerr as Francis and Luana Anders ("Dementia 13") as Dona Catherine Medina--Nicolas's worried sister, and Corman regular Antony Carbone as the evil Dr.Leon. But it's Price who keeps things humming---going mad scene by scene until he's full blown insane and working the Pendulum on poor Kerr. Excellent moody music score from Les Baxter, too. I consider this a classic along with "Masque of the Red Death", "House of Usher" and "Tomb of Ligeia". All of them are first-rate films from the Corman/Poe cycle of the 60's. Just enjoy....

After House on Haunted Hill, my favorite Price movie.
After House on Haunted Hill, the Pit and the Pendulum is my favorite Price movie. The best 50's and 60's Horror/Sci-Fi movies are all about atmosphere, and thats what I love about Pit. Great gothic atmosphere, eerie music, and georgously vivid and horrific set pieces. I especially liked Price's and Ander's performances. If you are like me and like best the eerie, moody, 50s and 60s horror pics, which along with great stories, really emphasize the eerie atmosphere, this has to be at the top of your list.

Nowhere near as good as the video version
If you're thinking of buying this widescreen DVD to replace your pan and scan video version, take my advice. Don't bother. The sound is very low and of poor quality; the image, though clear, is very dim and the colors are pale. While in the video version, the colors are rich; the image is bright and the sound level is high and of excellent quality.

In fact, the only reason for buying this DVD is to see the original trailer and the movie in their original CinemaScope format. The disc has commentary by the director, Roger Corman, the sound level of which is twice the level of that on the film and without distortion. However, film afficianados shouldn't take his reminiscences too literally. For instance, he says what a marvellous score Ronald Stein wrote for this movie, when he of all people should know that it was Les Baxter who wrote the score for The Pit and The Pendulum, not Ronald Stein.

Corman's best
A great gothic horror film. Worthy of any Hammer Horror film. ... Read more

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After the success of the wicked little sci-fi satire Death Race2000, producer Roger Corman quickly recast David Carradine, this time as arebel warrior in the year 3000 paired with B-movie vixen Claudia Jennings. Theresulting mix of barbarians and bikers lacks the inspired humor and satiricaltwist of its inspiration, but it works just fine as a drive-in action pictureabout gladiators on motorcycles and bug-eyed mutant cannibals in second-ratemakeup. Carradine gets to go all kung-fu and Jennings bares all in completelygratuitous (and frankly bewildering) torture scenes, and for all their New-Ageyphilosophy mumbo jumbo, they rise to the occasion in the gladiator ring (thedeathsport of the title), where they pack in enough cycle stunts and fierycrashes to please an exploitation junkie. --Sean Axmaker ... Read more

Reviews (7)

Better than Kill Bill!!! Carradines best work!!!
Oh man. My friends and I went to Blockbuster to look for movies, and saw this movie. The cover looked totally tremendously spectacular! it was like.. omfg it owns the matrix special effect. The motorcycles were totally cool looking, and theyr swords are SO AWESOME, CUS THEY WERE CLEAR!. and oh man, i love how they recycle scenes over and over and put funny buzzing noises everytime the awesome motorcycles roll bye. The BEST, AND I MEAN BEST PART about this movie is when the girl gets naked in the torture chamber omg, my friends mom came in while we were watching, and we changed it right away, but thats another story. HAHA OMFG, THIS MOVIE IS AWESOME, the girl is hot too! and i love their ray guns, where whatever they shoot just dissapears, i also love how things explode for no reason. Yeah thats about it. A+!! I REALLY SUGGEST YOU BUY THIS MOVIE!... lol oh man... their swords... are... GREAT.

Death Sport
Entertaining cheerful low budget crap, that is strangely less dated than the bile of sword & sorcery films that came in the next decade.
Looking at this film now it is basically an adult version of Battlestar Gallatica, with violence and female nudity
David Carradine sleepwalks through this and he is still superb.
However this not in the same league as the brilliant satire DeathRace 2000. Still it's fun to see films like this, that would
not have a pray of being made in this day and age.

Post-apocalyptic World of the DeathSport
Death Sport is one of my favorite films. It is the best of the post-apocalyptic action genre which, sadly, with the fall of the Wall and the dissolution of the Soviet Union has seen its heyday. No one has done it better than Roger Corman. David Carradine, a free and independent "guide," exhibits a cold-blooded and deadly swordsmanship showing no mercy to the "enforcers," a uniformed, motorcycle-riding force of "state-men," the conformist and totalitarian-ruled city-dwellers of the future "after the neutron wars." Claudia Jennings co-stars as a warrior equal in prowess to Carradine and equally deadly to the "enforcers." Richard Lynch is superb as a renegade "guide" who joins the "enforcers" and leads them in their evil plans to capture enough "guides" to hold the Death Sport, a gladiator-like motorcycle combat in which the "enforcers" hope to prove the superiority of the "Death Machine" over the swordsmanship of the "guides." It's the details that make this movie so different. Carradine cleaning the blood from his sword on his cape, the sound-effect when he skewers an "enforcer," the short screams of the "enforcers" when they see imminent death in the upraised swords of Carradine or Jennings, or get vaporized by a "Death Machine," and the whole cold, death-embracing world created in the film. I find myself strangely attracted to this world in which I wouldn't last my first encounter with an "enforcer." Finally, Jerry Garcia did electric guitar-work on the soundtrack. The special features don't match the DVD case - there is no eight page booklet of an interview with Roger Corman - but I didn't buy this DVD for the interview.

Best Movie Ever
Death Sport is the greatest movie ever made. It was on clearance ...and although i own 100,000 copies i couldnt resist so i bought it. the movie has some great action scenes all leading up to the final duel between some guy and another guy who looks like chuck norris. In one scene you can actually see a rope connected to the stuntman. Also scenes are used over and over just with different noises. there is some great machines in the movie such as a scooter painted silver made to be a motorcycle. this movie shows that with the trillions of dollars it costed to make it the movie was great

Death Sport, Death Machines -- How about Brain Death
With this kind of movie you know three things are going to happen: (1) lots of explosions, (2) naked women, (3) none of it will make sense.

As mentioned by another reviewer, most of the "action" is seeing a bunch of motorcycles being driven around fields, rocks, and something that appears to be borrowed from a monster truck rally.

The climatic swordfight has only one good choreographed move, when Moor does a nice somersault kick--too bad Oshay forgot to react. Almost the entire sword fight is filmed really close-up so you don't see them actually hitting the swords together, just swinging elbows. Of course, since the "crystal" swords are clear plastic, they would have broken on the first hit.

If you really want to see this movie, wait until you can rent it for free at your local video store. Should you get the VHS or DVD? With a movie as lousy as this, does it really matter? ... Read more

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The Masque of the Red Death (1964) is Roger Corman's, and most people's, choice as the best of the Edgar Allan Poe pictures. Masque offers the expected creepy atmosphere and violence against peasants, plus metaphysical ponderings and pointed satanic cruelty. (Corman was operating as much under the influence of Ingmar Bergman as of Edgar Allan Poe.) Nicolas Roeg's color cinematography and Daniel Haller's elaborate production design would be stellar in any Hollywood A-movie; the mono-colored rooms of the prince's castle are a startling effect. Vincent Price is in fine fettle as Prince Prospero, the devil-worshipping sadist who throws lavish parties while the countryside is ravaged by the plague.

The Premature Burial (1962) substitutes Ray Milland in the usual Price role. He's a snarky landowner (with a sideline in art--dig those mod paintings) haunted by the fear of being buried alive. This single-minded focus limits the film, but it also adds to the smothering sense of anxiety that prevails throughout its unhealthy scenario. Luscious Hazel Court is Milland's new missus, and old-school cameraman Floyd Crosby proves his facility for photographing women in a classical style. Lots of cobwebs-on-candelabra in the customary Corman-Poe manner, with special emphasis on Milland's crypt, with its supposedly foolproof exit schemes. --Robert Horton ... Read more

Reviews (27)

great transfer, bad movies
First off, Masque of the Red Death isn't as good as The Premature Burial like some reviewers here would lead you to believe. Secondly, Masque just doesn't make any sense. Sure, it is one of Roger Corman's most elaborate productions, but the story outright stinks. Vincent Price, as he does in all of the Corman adaptations of Edgar Allen Poe stories he stars in, shines, this time as the evil Prince Prospero. However, the plot line is convoluted and really doesn't make sense. Prospero, a devil worshipper and murderer, hides from the Red Death in his castle with other members of the dark ages' privileged upper crust while the poor villagers succumb to the disease. Cosmetically, the picture is superb, but like I said, the storyline is contrived.The Premature Burial with Ray Milland in the lead at least has an interesting plot that makes sense. Although this movie isn't as aesthitically pleasing to the eye as Masque, it is certainly more respectable.The DVD rendiions of these two films are great and MGM deserves credit for that. However, if you want to see a good Roger Corman movie, get a copy of The Pit and the Pendulum. It's a masterpiece of the macabre.

Corman/ Poe double feature is a mixed bag.
MASQUE OF THE RED DEATH (4 stars)

This Poe adaptation, inspired by "Hop Frog" is one of Roger Corman's most creative & artistically satisfying films. Shot in only five weeks, MASQUE OF THE RED DEATH sees Vincent Price giving one of his all time greatest performances as the evil Prince Prospero, a man who blames God for all that is evil in the world & has sought refuge in satanism. Prospero is such a likable fellow that he has the father of his mistress Francesca (June Asher)- ironically a redhead- & her lover quartered. But unknown to Prospero his legal wife Julianna (Hazel Court) has branded an inverted crucifix into her chest & has made a pledge to become the bride of Satan! A smart move considering it is almost the sabbath...
To celebrate the upcoming witches sabbath, Prospero decides to throw an elaborate masquerade ball - though guests are forbidden to wear red because of the plague of red death sweeping the countryside & ravaging the peasants in the village below. But on this night Prospero is to pay dearly for his villainy....
Featuring excellent production design by Daniel Heller & photography by Nicholas Roeg, MASQUE OF THE RED DEATH ranks alongside HOUSE OF WAX & THEATER OF BLOOD as one of Price's very best genre films.

PREMATURE BURIAL (2 1/2 STARS)

In this rather below par entry in Corman's Poe cycle scripted by Charles Beaumont and Ray Russell, Ray Milland plays Guy, a medical student with a fear of being buried alive. Each member of his family has died unpleasant deaths, beginning with his father having a coronary when Guy was 13. Guy regularly hears his father screaming out from beyond the grave, but his wife Emily (Hazel Court again) tries to convince him his fears are all in the mind, and that he's slowly going mad.
Sadly, the viewer may feel similarly.
The movies most memorable scene involves maggots writhing out of a silver chalice; but for the most part THE PREMATURE BURIAL is a stodgily paced, long-winded bore- until the fun finale and twist ending. Corman fans will want to check it out, but this is far from being his best work. It will come as no surprise that Vincent Price was originally intended to play Guy, but he was under contract to another studio at the time. It would have been interesting to see how much better the movie could have been with his magic touch. But generally, this Double Feature is well worth a look. Extras include trailers for both movies and couple of (very) brief interviews with Corman.

RAY PRICE?
One of the most interesting benefits of this double bill is the commentary by legendary producer/director Roger Corman who helmed all the Poe films made by American International. He adds some great insight into the behind the scenes mechanics, including the ironic necessity to put Ray Milland in the lead in "Premature Burial" due to contractual requirements. It's ironic in that American International bought Pathe Studios and released the "Burial" anyway!
Both movies are sumptuously filmed, the budget an obvious factor in the supremely photographed "Masque". Note the script's dependence on the belief of a God who would let terrible things happen. Also enjoy Price's masterful portrayal of Prospero; Hazel Court's brief stay as the inimitable Juliana (Hazel was a beautiful woman--wonder why we didn't see more of her in later films?); also enjoy the subtly intriguing performance of Patrick Magee as the lecherous "gorilla." "Don't Look Now's" director Nicolas Roeg was the cinematographer and he does a magnificent job in utilizing the various moods of the film.
I always wondered why Ray Milland got the role in "Burial" and after the commentary by Corman, I finally understood. Not that Ray isn't a good actor; he is. I felt,however, that he was not a good choice for the role of Guy Carnall. He didn't hurt the movie, but I felt he didn't display the wide array of emotions the character was screaming for. Hazel Court is back in a much bigger role and she gets fine help from Heather Angel and Richard Ney as well. It's slower paced than "Masque" but it maintains a spooky, claustrophobic feel and does well overall.
Thanks to Midnight Movies for bringing us these classic in DVD. The transfer on both is excellent. They don't look old at all.

DOUBLE DOSE OF POE....
Vincent Price is in great form as the evil Prince Prospero holding sway in his castle while the Red Death ravages the countryside in this 1964 classic. He has his pick of who joins him there and who perishes in the plague. Joining him in his depraved revelries and satanic practices is his Lady---Juliana (the luscious Hazel Court) who may be wearing out her tenure. Prospero has forced an innocent village girl (Jane Asher) to join him in hopes of converting her to satanism and instructs a resentful Juliana to groom her. He has also imprisoned the girl's lover and father in his torture dungeon. Prospero is planning a huge masked ball to celebrate his "triumph" over the Red Death and has assembled his most faithful gluttonous followers in the castle. But Death is not so easily tricked. Probably the most famous of AIP's Price/Corman/Poe adaptations is notable for the great Nicolas Roeg photography and the brilliant use of color throughout as well as a couple of nods to Ingmar Bergman. Outstanding script by Charles Beaumont and R.Wright Campbell make this one of the most literate horror films from the Poe cycle as well. A MUST see for any horror buff. Also included is 1962's "The Premature Burial" which is sorely lacking Price (in the role played by Ray Milland) as a man obsessed with being buried alive. He has built a specially equipped crypt designed to prevent this from happening. Lavishly mounted, with Hazel Court as his duplicitous fiancee, "Burial" looks good and benefits from foggy sets and the haunting tune "Waltzing Matilda" sung by gravediggers but I found myself wishing Price had the lead instead of Milland. But whatever, I enjoyed it anyway. Great looking DVD package of two AIP/Arkoff/Nicholson treats and a must for fans of the great 60's Poe cycle.

Outstanding entry in MGM's Midnite Movies collection!
Two great films for the price of one!

Masque of the Red Death, another in the Corman-Poe-Price series from American International, is considered by many to be among the best of the series. Great sets, vivid color, creepy story - in short, all the elements are in play here. The DVD features a very clean print and a bonus documentary with the fascinating Roger Corman. Well worth the price MGM is charging, you should also pick up "The Fall of the House of Usher" and "Pit and the Pendulum," just some of the other AIP films available through this series.

Premature Burial, a Ray Milland vehicle directed by Corman, is about a man who is terrified to be buried alive. It isn't great, but solid nontheless, and eminently viewable, with the same gothic atmosphere that won't disappoint fans of the Poe series. There is a Corman documentary for this one, too. If you like Milland, look for "X - The Man with the X-ray Eyes", "The Thing with Two Heads", "Frogs", and "The Attic". ... Read more

Reviews (5)

His first wife is dead...but still a little catty!
MGM supplies a double dose of Price and Poe with this Midnight Movies release of The Tomb of Ligeia (1965) and An Evening of Edgar Allan Poe (1970).

The Tomb of Ligeia, directed by Roger Corman, was his last of the popular Poe series of films, and Corman certainly went out in style. Opting for shooting on location rather than use of soundstages, the production here is lavish and infinitely enjoyable.

The story centers on Verden Fell (Vincent Price), who lives in a run down abbey, with his wife, Ligeia, buried within the grounds. But is she actually dead? It was said her will was so strong, her desire to live so palpable, that maybe she didn't really pass. Elizabeth Sheppard also stars as Lady Rowena Trevanion, a woman who has a chance meeting with Verden, and soon finds herself enthralled with the man, despite his peculiarities, like his aversion to sunlight, his living in an abandoned abbey, etc.

They are soon married, and then the weirdness really begins. Strange dreams, a black cat, Verden mysteriously disappearing in the night, and a sense that Verden's deceased wife, while not around in a physical sense, is somewhere in the abbey...maybe everywhere in the abbey, as her presence seems to permeated the structure, and it doesn't seem like she's too happy about Verden getting re-married...so what's the secret behind Verden's strange behavior? Is Ligeia really dead? What is the menacing presence lurking within the abbey, intent on haunting Lady Rowena?

As I've said, this is a really wonderful production full of rich, beautiful location shots. The decrepit abbey is provides a wonderful backdrop to this truly creepy story, and the minimal number of characters really helps to keep things tight and focused. Price, one of my favorite actors, does a wonderful job, and seeing him apply his craft is always a treat. Elizabeth Sheppard certainly manages to hold her own, sharing much screen time with price. What I found really interesting was the lack of physical horror within the film, and how the film avoided the luridness of some of the other Corman/Poe productions, seeming to stay more along the lines of the source material. Credit must be given to the write of the screenplay, Robert Towne, who later wrote the Nicholson/Polanski classic Chinatown (1974). A real nice adaptation with loads of atmosphere and a nice way for Corman to finish the Poe series with this eighth and final adaptation.

The second feature on this disc, An Evening with Edgar Allan Poe, isn't a theatrically released feature, but a made for TV movie starring Vincent Price. It's comprised of four vignettes, including the more popular Poe stories, The Tell Tale Heart, The Sphinx, The Cask of Amontillado, and The Pit and the Pendulum..

Price is the only one throughout the entire features, sometimes acting in a manner of relating a tale within character in the story, sometimes acting out the different characters within the stories. It's a very personal affair, and all tales follow the original stories very closely, something that wasn't necessarily true of the theatrical Poe features produced by Roger Corman starring Price. As far as I can tell, Corman had nothing to do with this production, but it was produced by American International, the same company that produced the Corman/Poe films. This feature runs 53 minutes.
Since it was shot for television on video tape, the quality isn't all that great, but, if you are a fan of Price and/or Poe's works, then this will be a real treat for you. Price really sinks his teeth into the roles, relating each tale with flourish they so richly deserve.

The print provided for The Tomb of Ligeia looks really beautiful, presented in wide screen. The special features include two, separate audio commentary tracks, one with Roger Corman, and another with star Elizabeth Sheppard. There is also a theatrical trailer for the film. An Evening with Edgar Allan Poe is in full screen format since it was a feature made for television, and does have subtitles, which came in useful as the audio, while decent, was a bit weak at points.

Cookieman108

Medium quality double feature
You can't go too wrong with a pair of Vincent Price horror movies, especially based on Poe stories; as this double feature demonstrates, however, you may not do completely well either. This pair of movies is not bad, but is not overly impressive.

The Tomb of Ligeia is a rather standard entry in the Corman/Price/Poe series. Vincent Price is a man whose first wife has died but apparently come back in the form of a cat. Although rather morbid and occasionally violent, he somehow wins the heart of the local beauty and marries her; the spirit of his first wife, however still haunts his home and occasionally controls Price's mind.For a series often filled with good movies (such as the Raven or the Masque of the Red Death), this one only stands out in its averageness.

An Evening of Edgar Allan Poe, however, is more interesting. A showcase for Vincent Price, it has him telling four different Poe stories. Many viewers may be put off by the lack of action; this film is little more than Price on a stage by himself delivering monologues. Price, however, does a great job with his narrations. Reading Poe can often be difficult due to his dated language and style, but Price brings these stories to life.

As stated before, this is not a bad pair of movies, but it is just a high three-star feature at best. You will not be wasting your time watching them, but you will not be rushing to rewatch them either.

Price And Poe: A Great Combo
"The Tomb Of Ligeia" was the last time Roger Corman would direct Vincent Price in a movie adaptation of an Edgar Allan Poe story. Vincent stars as Verden Fell, whose willful wife has just died. Her will to live was so strong that not even death could put an end to her. This moody movie is beautifully filmed, with the details of the decaying abbey and cemetery, as well as the vivid colors of the interior shots, benefiting greatly from the new DVD transfer. However, I found this costume horror film to be heavy on atmosphere and light on scares. The action didn't really pick up until the fiery climax.

"An Evening Of Edgar Allan Poe," originally shot on videotape for television in 1970, is officially released at last. Given the source material, the images are clear and the sound is good. Vincent Price delivers a powerful, one man performance of four Poe stories. "The Tell Tale Heart" starts the evening off on a strong note. Vincent gets more and more animated in relating how he planned to murder the old man he was looking after, how he dismembered the body in a tub to catch all the blood, and how he carefully hid the body parts. Of course, when the police come to investigate the complaint of hearing a scream in the night, Vincent loses his composure and reveals everything, because he hears the incessant beating of the old man's heart! "The Sphinx" is a comical piece, in which Vincent sees a gigantic monster in his telescope, which turns out to be a moth caught in a spider's web. "The Cask Of Amontillado" finds Vincent at his jovial best. He happily relates how he led his drunken friend through the dank catacombs to show him his latest wine purchase. Instead of sharing some drinks, he quickly chains his friend to the wall and then slowly seals him up alive, brick by brick. "The Pit And The Pendulum" features an amazing performance by Vincent Price. In the span of twenty minutes, Vincent relates the terrible tortures inflicted on him by the Spanish Inquisition with chilling detail and fiery conviction. For all fans of Vincent Price, this DVD is an essential purchase.

A fine double-bill...
"The Tomb of Ligeia" is, I'm sure, the draw of the two. Before I bought this DVD, I didn't know what was to be expected from something called "An Evening with Edgar Allen Poe", and Amazon offered no explanation. Well, get ready. This is a filming of Vincent Price's one-man show that went around the country, featuring his rendition of "The Tell-Tale Heart", "The Sphinx", "The Cask of Amontillado" and "The Pit and the Pendulum". It's intense and quite wonderful. As hammy as he's been in other films, there is a riveting conviction to present Poe as it should be. It's definitely worth a look. "The Tomb of Ligeia" is Corman's last Poe film, which he considers among his best. I found it to have a bit more center and plot than most of his other Poe adaptations. There's a fine, unsettling performance from Elizabeth Shepperd, playing dual roles. I'm a fan of early Poe films by Corman; here, he's developed style and intelligence. I thought the earlier mindless ones (Matheson script) were more fun. But this is definitely worth a look. Screenplay by Robert Towne ("Chinatown"). I was most impressed with Price's one-man show. It's pretty much of a one mood (crazy) presentation, but I can't really say that it's hammy. Imagine "The Pit and the Pendulum" done alone on stage... (with no props or set). It's quite frightening, and, here, Price was much in tune with his material. A real tour de force. It's a performance that is up there with Rathbone or Olivier.

A VERY MIXED BAG.....
On the one side we have the superb "Tomb of Ligeia" and on the flip side there's the lackluster "Evening of Edgar Allan Poe". "Ligeia" is one of my favorite Poe/Price/Corman films and is presented letterbox in a beautiful print. Lushly filmed on location with marvelous photography, it tells of a reclusive baron (Price) with a weird eye problem that makes him ultrasensitive to light. He has recently buried his beautiful wife Ligeia who had a strange hold over him. He meets the Lady Rowena who is bizarrely smitten with him and they marry. Rowena soon discovers things are not what she hoped when the spirit of Ligeia makes herself very well known---particularly in the form of the late Ligeia's black cat. Elizabeth Shepherd is wonderful (and provides audio commentary on this disc) as both Rowena and Ligeia. She's probably the best female costar Price ever had (next to Hazel Court). Price is at his moody best as the baron so Shepherd had her hands full. The sets of "Ligeia" are something to behold. Expansive and foreboding, they seem to swallow the cast allowing the feeling of gloom and emptiness full range. But what is with the sound on these recent releases? I kept having to turn it up and down to hear a lot of the dialogue. And the dialogue (by Robert Towne) in "Ligeia" is important. Not only is it literate but it's written to provide a lot of clues as to what's going on. Nevertheless, "Ligeia" alone is worth the price of the DVD. Now, "Evening With EAP" is another matter. Done by AIP vets Samuel Z.Arkoff and James H.Nicholson, it's a one-man-show of Price doing four Poe tales first person. It's poorly reproduced in picture quality and tedious to sit through. But, if you're a diehard Price fan, it is a rare chance to see Price going solo in tour-de-force style. Plus it's only around 56 minutes in length and there's nothing wrong with the sound. Price is crystal clear and loud. He's probably the best interpreter of Poe there ever was. But my bet rests with "Ligeia". My Poe cycle on DVD is now complete. ... Read more

Amazon.com

"Only the gods see everything," cautions one scientist as Dr. James Xavier (Ray Milland) experiments with a formula that will allow the human eye to see beyond the wavelength of visible light. "I am closing in on the gods," he responds with the hubris that is doomed to destroy his overreaching ambition. A mix of Greek tragedy and sci-fi potboiler, Roger Corman's X: The Man with the X-Ray Eyes (simply identified as X in the eerie, odd opening credits) is a familiar tale of a scientist who risks everything to explore the unknown and is finally driven mad by, literally, seeing too much. Peeping through the clothes of comely women is all good adolescent fun until the gift becomes a nightmare as his sight rages out of control. The possibilities suggested in the hints of addiction and inconsistent bouts of megalomania remain tantalizingly unexplored in the unfocused script, and Corman's cut-rate special effects are often more hokey than haunting (the "city dissolved in an acid of light" that Xavier poetically describes becomes fuzzy photography through a series of color filters). Don Rickles offers a venal turn as a scheming carnival barker turned blackmailing con man, and Diana Van der Vlis is understanding as a sympathetic scientist who tries to rescue Xavier from his spiral into tortured madness, but in the tradition of Greek tragedy, he is doomed to be destroyed by the very gifts he desires.

MGM's widescreen disc also features commentary by director-producer Corman. --Sean Axmaker ... Read more

Reviews (20)

An interesting Concept on Medical REsearch Hubris
Roger Corman struck gold with this film. Ray Milland plays a dr. who develops special drops which allow him to see the ultra-long spectrum, i.e. x-rays. Using this power, he is able to save a little girl's life, only to be condemned for bucking established procedure.
Needing more money to continue his experiments, he runs the table at Vegas, only to run afoul of the mob. Fleeing from them, he runs afoul of the law.
It's a commentary on how research, for whatever supposed good, must be guided by ethics and morality. Since machines were capable of providing the same info, Milland's desire is pure egotistical, to do something no one else can.
He gives a stellar performance, with good supporting roles. Corman once again demonstrates his social satire skills on a low budget.

Oedipus Milland
"X" - THE MAN WITH THE X-RAY EYES is one of the better movies produced by Roger Corman. The DVD gives the option for his commentary and I was intrigued by his remark from the late Ray Milland, that the two movies of which he was most proud, were LOST WEEKEND (for which he won an Academy Award) and this movie, "X". The other reviews give a pretty good synopsis: Milland plays a doctor who uses experimental drops on his own eyes to give him x-ray vision. Either because of obsession or addiction, he keeps taking the drug and when opposed by a colleague, he accidentally kills him. He becomes a fugitive from the law and one could also argue, from himself. He is warned early on that the drops might also affect the brain. This might explain why he goes into quick rages and makes impulsive decisions. Of course, a doctor experimenting on himself is not too swift either, as Dr. Jekyll could say about his Mr. Hyde.

A warning about scientific hubris is given at the very beginning of the film. Is he challenging the gods? At the film's closure he sees through to the light beyond the vast darkness of space. He sees a cosmic eye that sees all and knows all. This element might be lost on the casual viewer. This distant eye sees Dr. Xavier (Milland) and knows he is watching back. This proves too much for Dr. Xavier. While we might know God by faith, represented by the people in the last scene's revival tent, the Old Testament tells us that no one can see the face of God and live. The temptation from the serpent in the garden is realized, "you will become as gods." It was a lie in the beginning and it is still a lie. We are convicted as weak and sinful men and women.

Dr. Xavier says that he has not come to be saved, but to tell what he sees. He becomes a prophet, so to speak. His vision is condemned as from the devil. It may be the truth, but maybe there are some things we are not meant to know?

Can science go too far? Or, is the problem not science, but a lack of caution and discipline? Can faith and science compliment each other? This is only a movie, but it makes us think about many questions.

>No nudity although bare shoulders and legs demonstrate the ability to see through clothes.

>Plot violence includes a man falling out a window and a car crash.

>Little gore although at the very end he does something to his eyes reminescent of Oedipus. Enough said!

The most atypical and probably the best Roger Corman film
One of the reasons that "X - The Man With the X-Ray Eyes" looks half-way decent in Ray Milland's film career is that when he started his spectacular drop from winning the Oscar for his performance in 1945's "The Lost Weekend" he was still almost a decade away from making "The Thing With Two Heads." I always figured this 1963 film from director Roger Corman was inspired by the infamous add for X-Ray specs that appeared inside the front cover of virtually every comic book produced when I was a kid. However, the screen play is credited to Robert Dillon ("Muscle Beach Party," "French Connection II") and Ray Russell ("Mr. Sardonicus"), based on a story by Russell. The plot is as simple as the ad: Dr. James Xavier (Milland), is a world famous scientist who is experimenting with human eyesight and develops a serum that will allow him to see fun things like ultraviolent rays and (gasp!) through objects. Of course, this is one of those things that seems like a good idea at the time...

The film is really much more of a science fiction film than it is the traditional sort of horror film you expect from Corman, who has a script that suits his ability to bring out the weirdness in situations. The film has remarkably little to do with voyeurism and actually more to do with the nature of reality. It is ultimately a psychological drama, because as Xavier sees human beings reduced to their skeletons, he becomes incapable of dealing with them on a personal level.

In terms of movies where the mad scientist goes off the deep end with a god complex, this one makes the main character the victim of his own experiments (contrast this with Claude Reins in "The Invisible Man"). After accidentally killing a colleague, Xavier hides out in a carnival sideshow where he works as a faith healer. Clearly his x-ray vision functions as a metaphor for the ability to have insight into the sad side of life, but, ironically, Xavier cannot see where his own life is heading. His "visions" become increasingly worse until a fateful meeting with an evangelist at a revival meeting in the desert.

Although not a traditional horror or monster movie, "X - The Man With the X-Ray Eyes" has a sense of bleakness that becomes rather overwhelming by the end. As always, Corman is working with a limited budget, and while this does not affect his direction, it does limit the film's effectiveness because the special effects (i.e., optical tricks) can barefly suggest the depths of Xavier's "visions." However, if you get into the spirit of things you can let your imagination carry the load. Considered by many to be Corman's masterpiece, it remains a most atypical Corman film, which makes a kind of sense. Certainly, this has the most unforgettable ending of a Corman film.

The curse of the man-god
Even when told by a colleague that his vision is excellent, Dr. Xavier is not entirely satisfied: he wants to see what no other man has seen before. To do so and close in on the gods, he has created a substance enabling nothing short of x-ray vision; he takes one drop of it in each eye, even though a monkey he tried it on just died. Taking more of the substance, he soon begins to challenge his colleagues's medical decisions, and is forced to flee after accidentally killing one of them. In the film's first half, Dr. Xavier goes from man to semi-god to exploited freak; eventually posing as Mantallo, he becomes a 'healer' who can't even heal himself. In the second half, his substance abuse gets worse: while trying to find a reversal, he uses more of it to better his chances of getting the money he needs. His voyage of self-discovery ends when he reaches a point of no return and recognizes it. This multi-layered film is rooted in a genre of fiction that we could call 'the curse of the (wo)man-god', and which goes all the way back to the Greek concept of 'hubris'; in such works, a human unsuccessfully tries to transcend his/her own nature through his/her specialised branch of knowledge. The most interesting of these inevitably carry theological and philosophical implications, and 'X' is no exception. The way the movie highlights the different stages of the character's downfall is especially effective: everything from the music, the shapes, the colors, and the editing to Milland's acting denotes this degenerative process.

Cool contact lenses!
Ray Milland's movie career took an interesting turn in the early 1960's...he signed on to do three films for American International Pictures, an outfit far removed from the majors like Paramount and 20th Century Fox. At the time, AIP was well-known for cranking out black and white cheapie fliks for the teenage matinee crowd, stuff like "The Day the World Ended" and "The She Creature." By 1963, when "The Man With the X-Ray Eyes" was released, AIP was enlarging their budgets by adding color, better sets, and employing good writers (Richard Matheson, Charles Beaumont) and actors (Vincent Price, Hazel Court, Peter Lorre, Basil Rathbone, Karloff). Milland's involvement was one more step up the "prestige" ladder for AIP. Mr. Milland had won an Academy Award (Best Actor, "The Lost Weekend" 1945) and was a touch of Hollywood royalty that AIP would not let go unexploited. The first film he did under their banner was "The Premature Burial," directed by Roger Corman. Then came "Man With the X-Ray Eyes," an interesting and philosophical sci-fi thriller. It contains an excellent Milland performance as "Dr. Xavier," who concocts a serum that allows him to see through any object. Eventually, overuse of the drops results in the doctor being able to see into Infinity...and what he finds there is enough to drive anyone insane (or is it? Check out the film!). Production values are good, if a little "TV-like," and director Corman keeps things moving at a quick pace. Mention should be made of Don Rickles (?!) contribution as a sleazy carnival hustler--he's truly obnoxious and completely believable! Not to mention surprisingly skinny! I loved the film's ending, and I, too, heard the legend about the cut line. Corman, in a commentary, remarks on it, giving us the full scoop on whether the scene was ever filmed. Even without this coda, the conclusion is a shocker! I love all of MGM's Midnite Movies--the quality of their presentation is beyond criticism, as far as I'm concerned. Beautiful prints, rich, vibrant colors, with great extras! What more could you ask for, especially at such a bargain price! Snatch "The Man With the X-Ray Eyes," pronto! And I'm keeping my fingers crossed that "Premature Burial" and Milland's third AIP feature--"Panic in Year )"--will soon make it to DVD! ... Read more

Book Description

Vincent Price lends his distinctively chilling voice to this spine-tingling collection of tales, spells, and things that go bump in the night. This hair-raising audiotape features classic horror stories by Edgar Allan Poe and John Cllier, as well as more practical tales such as ‘How to See Ghosts and Surely Bring Them to You.’ So turn down the lights and turn up the volume . . . if you dare!

... Read more

Description

Hot gang chicks, street punks, murder, wild sex and sadism are the key ingredients in this stylish 1950's teenage gangster film about a good girl in bad company who sets off a gang war by accidently killing a beat girl from the other side of the tracks. Produced and directed by Roger Corman! ... Read more

Reviews (2)

Kooky Corman JD pic in nice, clean DVD package
The second and final co-production between Roger Corman and the Woolner Brothers (released by Allied Artists), Teenage Doll is easily on par or better than any of Corman's AIP juvenile delinquent epics. The relatively dark story of good-girl June Kenney running afoul of bad-girl gang (headed by Fay Spain) and winding up involved in a murder is played basically straight. More compelling than other contemporary JD dreck like, say Hot Rod Gang or High School Confidential (both of which I also like a lot for different reasons), Teenage Doll contains a handful of those uniquely twisted Corman/Charles B. Griffith sick/icky/creepy moments (e.g., Fay Spain appears to be living in Walter Paisley's trash-strewn apartment with her malnourished 'baby sister'), as well as lots of goofy hep-talk and an effective rumble scene set in an auto salvage yard. However, if you're expecting steamy sleaze, based on the film's misleading advertising materials, you may be a bit disappointed. The cast includes a number of familiar Corman regulars including John Brinkley, Barboura Morris, Richard Devon, Dorothy Neumann, Ed Nelson, and Bruno VeSota, not to mention the sultry Ziva (Pharaoh's Curse) Rodan. The stark B&W cinematography is by Floyd (David's dad) Crosby.
The DVD presentation is minimal but very clean. An excellent-condition trailer with some light speckling/scratching, chapter stops, and four 'bonus' trailers are the only extras, but the source print used for the feature is in terrific shape. The tonal values, brightness, contrast, sharpness, and detail are uniformly excellent and there is only some very light speckling evident. Considering how few decent DVDs are out there so far for the 50s JD aficionado (this is about the only one I'm aware of), genre fans might as well snap this up.

A really fun Roger Corman film!
One of Corman's best features, this film stars June Kenney in her first major, role and she does a great job playing a girl from the right side of the tracks who gets her lilly-white self into a lot of trouble when she tangles with a tough all-girl gang lead by Fay Spain! John Brinkley co-stars as a James Dean type hood who Kenney has the hots for! Lots of action abound and fine performances by all involved! Also featuring Barboura Morris, Dorothy Neumann, Ziva Rodann, Jay Sayer and many other Corman regulars! ... Read more

Reviews (6)

Price and Corman tackle Lovecraft and Shakespeare (sort of)
Here are a pair of films with actor Vincent Prince and director Roger Corman from their glory days. "The Haunted Palace" is arguably one of the best adaptations of an H. P. Lovecraft story, but since this is an American International production directed by Roger Corman, the name above the title is Edgar Allan Poe. The Lovecraft story being roughly adapted is "The Case of Charles Dexter Ward," which deals with the resurrection of the dead through sorcery. In the town of Arkham the wizard Joseph Curwen was burnt at the stake, but not before he curses the villagers (and their descendants) and promises to rise from the dead. Ward is Curwen's descendant and Vincent Price plays both roles. Ward arrives with his beautiful wife Ann (Debra Paget) to take over the family castle, which comes complete with a caretaker (Lon Chaney, Jr.). Ward notices his resemblance to Curwen's portrait, and soon the dead wizard takes over his descendant's body with the goal of breeding human women with the Elder Gods.

To be fair, Corman resisted the "Poe" credit. The final irony is that "The Haunted Palace" lacks the pace and flamboyancy of AI's Poe films, even with Corman and Price on hand for the fun. The above average script here is by Charles Beaumont and Ronald Stein's musical score is one of the better ones to grace a B-grade horror movie, but as you might expect Price's performance is the lynchpin to the entire film. Still, Corman puts his mark upon the film with the rather downbeat ending. All in all, "The Haunted Palace" stands up in comparison to the more recognizable Poe films and with this DVD we get to see it in its original widescreen format, which makes a big difference.

"Tower of London" is ostensibly a remake of a 1939 film with Boris Karloff and Basil Rathbone which turned Shakespeare's "Richard III" into a stripped down horror show (Rathbone was Richard and Karloff his executioner). Price is Richard, Duke of Gloucester at the outset, who murders his way to the English throne occupied first by his brother Edward IV (Justice Watson) and then his nephew Edward V (Eugene Martin). Ironically, Price had been in the original as the poor murdered Clarence, who this time is played by Charles Macaulay. The problem is that the script makes Richard out to be some sort of deranged psychopath, and Price's performance goes over the line into the realm of camp as far as I am concerned.

If you knew nothing about the Richard of history or drama you would think this was another one of Corman's Poe films because it has all of his standard tricks of the trade in that regard (would the director have put Poe's name above the title instead of Shakespeare's if that had been a point of contention?). In the Poe films the Vincent Price character falls apart early on and has to suffer throughout the film and that is what happens with his Richard in "The Tower of London." But why would you want a Richard who guilty murders his way to the throne? The attraction in Shakespeare is that Richard is a grand villain, who can, to quote the bard, smile and murder whilst he smiles. This guy is just a loon. The rest of the cast is more than competent, especially for a Corman film, but Price's performance keeps dragging this one down past the point of no return. Fortunately, "The Haunted Palace" redeems this DVD enough to justify checking it out.

This one almost slipped under the radar.
I stumbled onto the Haunted Palace by accident, on tv, just one of the movies I had never gotten around to watching. So I'm sitting there, only half paying attention when I hear enough key words to tell me that The Haunted Palace is, at least in large part, The Case of Charles Dexter Ward, a Lovecraft flick that had completely escaped my attention. (There's another movie base on Charles Dexter Ward called The Resurrected, which is okay, but I liked The Haunted Palace better.) I went out and got this DVD asap. I was a little bit disconcerted about the way they tried to downplay the Lovecraft elements in favor of the Poe influences, but I guess it had to do with the time in which the movie was made. Still, it must be noted that this is one of the few movies that ever, oddball pronuciations aside, specfically named Cthulhu and Yog-Sothoth.

In the movie, Ward inherits the palace where his nefarious warlock ancestor, Curwen, practiced bizarre rites and experimentations designed to help the Old Ones regain their earthly dominion. Unlike the Curwen from the story, who mainly specialized in summonings and necromantic resurrections, the movie Curwen was a warlock trying to create a hybrid race between mankind and the Old Ones that would give Cthulhu and the troops their doorway back to earth. His plans were cut short, however, when the townspeople set upon him and burned him alive. Curwen placed his curse on the whole town, which came both in the form of the longterm effects of his experiments and in the form of Curwen himself, when he returned from the grave. In the movie, Curwen is a spirit that possesses Ward, gaining physical control and falling in with his two warlock cohorts to begin his experiments again. Initially, Curwen is sidetracked by the business of revenging himself on the townspeople and resurrecting his former mistress. However, unlike the Ward in the story, this Ward is resistant to Curwen, strong-willed and fueled by love for his super-hot babe of a wife.

Overall, I thought the movie looked pretty sleek, somber but hard-hitting when it needs to be, with elaborate sets, ghoulishly-perfect lighting, and that cool music, much more dignified and deserving than most of the Lovecraft stuff that's floating around out there. It tends to be a little bit light on the supernatural side, though; the ghost aspect doesn't get quite enough play, and the freakish results of the experimentations could have been better. Still, Curwen did have some kind of aquatic monstrosity in the lower depths of the palace, and even though that particular phase of the movie just sort of fizzled out, I liked to think that the creature was something cool like a servitor to the Old Ones, maybe a Deep One or something like that. Either way, even if you're not a Lovecraft fan, this movie would appeal to any true horror fan, I think, although in my case it did take the Lovecraft aspect to really draw me in. Two BIG thumbs up!

Tower of London was, for me, just an extra movie thrown into the deal. It was okay I guess, and it did have a few hot chicks, but it's nothing I would have endeavored to track down for its own merit. It's one of those ponderous sort of movies that comes off more like a play, a little bit convoluted, inclined more towards wardrobe than anything else. But, I like just about anything with Vincent Price, so it wasn't a difficult movie to watch. The real prize is The Haunted Palace, which tought me to stay on my toes when it comes to old movies. I think Lovecraft would have been pleased.

Overlooked classic Poe film.
This is a super buy since you get two films from the Horror team of Vincent Price and Roger Corman.

King of the Quickies, Roger Corman and Price made a good stab working their way through the stories and poems of Edgar Allan Poe, making one film right after another based on horror tales. Near the end, they tossed in one loosely based on H.P. Lovecraft's short story "The Case of Charles Dexter Ward".

Price plays the lead in duo as Charles Dexter Ward his is distant relative, Joseph Curwen, a warlock.

The movie opens, in a small misty shrouded town with a girl going to the castle of Curwen. She is followed there by the villagers, but Curwen claims she came to visit of her own free will. However, the girl can only answer in barest of replies, so they know she is under Curwen's bewitchment. The village drag Curwen out into the night and kill him.

It moves to over 100 years later, when Charles Dexter Ward and his beautiful bridge come to claim the estate as his inheritance. They find the village strange, almost to the point of being hostile, and are oddly chilled when they see so many of the children are deformed. They learn from a kindly doctor there, the villager are cursed because of Curwen - who just happened to be the spitting image of Ward. Not there long at the Castle, when Ward suddenly begins to act funny. Could it be?

A wonderful performance by one of the most beautiful women to ever grace the screen, Debra Pagent, with the great character actors, Leo Gordon, Elisha Cook and Lon Chaney, Jr., this is very low toned horror film that really needs a second - and third - look.

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The second film in the nice double feature is The Tower of London, another flick that teamed Price with director Roger Corman. The story for this film came from the pen of Leo Gordan (actor in the other film The Haunted Palace) and has his younger brother Bruce Gordon (The Television's Untouchables) as the Earl of Buckingham. Price plays Richard of Gloucester, later to be Richard III haunted by the people he murdered to get to the throne of England (including the Little Princes). Odd note, this is the second time Vincent Price made The Tower of London. In 1939 he appeared in a film with the same title, also based on Richard III, with Basil Rathbone playing Richard and Price playing Duke of Clarence.

Great fun for Price fans at a great price!

Corman and Price strike again
It's funny. Unlike the other reviewer, I found "Tower of London" to be the main movie of interest on this disc, though I did enjoy both. Simply put, I liked "Tower of London" more because it gave us something different: while the half dozen or so other Corman/Price films seen thus far in the "Midnite Movies" series have given us lavish color and adaptations (or "sort of" adaptations) of Edgar Allan Poe works, "Tower of London delivered moody black & white photography and an adaptation of- of all things- a Shakespeare play. Thus, I found the movie to be a refreshing entry in this DVD series, with- believe it or not- long stretches of credibility and minimal hamminess. But like I said, the other movie is good, too, benefitting greatly from using a generous dose of H.P Lovecraft source material as well as the usual Poe themes (though it was still marketed as a Poe film and for the most part still feels like one). It was also nice to see both director Roger AND producer Gene Corman talking about these movies in the brief but very interesting interview segments included with each film. It'll be fun to see what the next few "Midnite Movies" double feature discs will be like... are there possibly any more 1960's American International Pictures Roger Corman and/or Vincent Price pics LEFT that haven't been released?

Saved by DVD
Although I only gave this film three stars its worth a look. Its large sets, swirling fog, moody lighting and great cast set it apart from other B films of this time period. The quality of the DVD is excellant. Vincent Price playing a man torn between right and wrong is always worth watching. A great film for Halloween. ... Read more

Reviews (5)

And all along it was a YIDDISH COMEDY!!!
As every film buff knows, this is the schlock horror movie that later became the hit Broadway musical of the same name. Like the musical, this was never intended to be a scare -- it was done tongue-in-cheek and is really a spoof .

I had heard of this movie, but did not see it until after viewing the musical. What surprised me was the amazing amount of Jewish humor in the original. Mr. Mushnik, the flower shop owner, speaks with a decidely Yiddish accent, and is constantly making puns like "Aloha -- OY!" Then there's Mrs. Shivah (her name refers to a Jewish funeral custom), who is always buying flowers for some relative who died. Never mind that traditional Jewish funerals don't use flowers -- it's a good gag. So is Seymour's hypochodriac mother, who is the exact opposite of the usual Jewish Mother -- she DOESN'T want Seymour to get married, but if he does, he should at least get a girl with a really serious disease, not this healthy Audrey he brings home. The dinner at Mom's is hilarious -- everything she serves is some sort of home remedy. Cough syrup liquers, cod liver oil soup.... kosher, but YECCCCH!!!!

All of this gets lost in the musical rewrite, which went from Yiddish theater mode to Motown. That was funny, too -- but if you are into collecting old Jewish humor, then the original "Little Shop" should definitely be on your shelf. I give it five stars, not because it's a great cinematic acomplishment (it's not!) but because I see it as a part of Jewish-American cultural history. And besides, it's funny!

GoodTimes' Little Shop DVD is the one to beat
Unfortunately, Little Shop of Horrors and every other Roger Corman Filmgroup production lapsed into public domain years ago and have generally been available on VHS and DVD only in poor-quality editions ranging from merely bad to atrocious. (The only Filmgroup features to get a decent official or semi-official release so far are Bucket of Blood, Beast from Haunted Cave, and Night Tide.) After researching every DVD version of Little Shop of Horrors available (there are at least eight!) I played a hunch and went with GoodTimes to replace my VHS copy, and I'm very pleasantly surprised at the overall excellent quality of the source print. When I saw the "preserved using the best available elements" line at the beginning of this disc I thought 'yeah, right,' but I have to admit that this is the brightest, cleanest, sharpest (if not exactly razor-sharp) print of this film I've ever seen. The black level, contrast, gray values, and shadow/highlight detail are fine, and physical damage is limited only to some very light speckling and blemishing (!!). On the downside, the transfer itself seems to be somehow deficient (low bit rate?), causing areas of flat white or smoothly gradated grays in the image to exhibit some very faint but noticeable pixelation or banding, especially during the opening credit sequence (areas of flat color seem to be DVD's Achilles Heel). The casual viewer probably won't notice this phenomenon unless it's pointed out, but it's there. That said, the superior quality of the source print more than makes up for this one barely noticeable flaw; this is still most likely the best edition yet available of this classic 'sick humor' gem and well worth the bargain price. It definitely blows away every TV print and cheapjack PD video version I've ever eyeballed. Grab this before it goes out of print.
The movie itself still entertains tremendously today, a funny, goofy (dare I say charming?) horror-comedy that basically plays like a stage farce (most of the action takes place on one or two sets). The story is essentially a remake of Bucket of Blood with a change in locale and a few fresh twists. This time Jonathan Haze portrays everyschlep Seymour Krelboine, who lives with his alcoholic hypochondriac mother (she listens to KSIK radio) and works at Mushnick's skid row flower shop. Seymour (temporarily) finds fame, fortune, and romance by nurturing (and eventually murdering for) an exotic talking cannibalistic plant. Mel Welles, in his finest hour (literally), steals nearly every scene with his droll portrayal of perpetually exasperated Gravis Mushnick, and Jackie Joseph (Andy Griffith Show, Who's Minding the Mint) seems born to play pretty, ditzy Audrey. Corman regulars adding to the fun include Dick Miller (Walter Paisley in Bucket of Blood) as Fouch, a flower-eating client, John Shaner as a sadistic dentist, and 14th-billed Jack Nicholson (featured prominently on most tape and disc box art) as his masochistic patient. Shot on a shoestring in just three days (at least all the interiors), Little Shop holds up better than many big-budget comedies of the day (anyone watched Story of Mankind lately?). Much credit must be given to Charles B. Griffith, unsung hero/architect of the AIP/Allied Artists/Corman style. His list of credits reads like Corman's greatest hits: It Conquered the World, Attack of the Crab Monsters, The Undead, Not of This Earth, Teenage Doll, Bucket of Blood, Beast from Haunted Cave, Wild Angels, Death Race 2000, etc. Griffith's clever, witty screenplay is a model of late-50s sick humor, working in a dead-on Dragnet parody, some wonderful malapropisms and bits of wordplay, lotsa Yiddish humor, and a handful of his patented icky-creepy moments. (Griffith also voiced the plant, Audrey Jr., played a few walk-ons, and directed