Roger Corman / Edgar Allan Poe (1960-65)

The Fall of the House of Usher (1960)
Dir. Roger Corman

The first of seven Roger Corman films that claim to be based on the works of American author Edgar Allan Poe relies heavily on the deep, rich textures of Vincent Price. The dialogue he's given only occasionally sounds like it came from Poe's own mind, but the hinge on madness — the deranged grip of nervous agitation that many of his protagonists find themselves inexorably in — is firmly in place, the crumbling house reflective of the Ushers' state of mind.

It invents a new character and does away with an original one, while the shift to third person robbed it of a potentially weighty V/O, but it's something that I've come to accept.

The paintings hanging in the halls are atypical of the era, but they’re amazing, nonetheless.

The Pit and the Pendulum (1961)
Dir. Roger Corman

The second of Corman's Poe films begins in a similar manner to his first (Usher (1960)), but it added much more original content, again courtesy of Richard Matheson. The changes were offset by upping the mystery and pushing the genre further into the realms of the experimental than its predecessor. There are times when it lovingly resembles silent era cinema, and the score occasionally feels like it was lifted direct from a sci-fi movie!

When viewed as an adaptation it really stretches accepted boundaries, but when critiqued as a film that's concerned more with visuals it's an unforgettably dramatic experience, and Vince rocks a neck ruff!

I wish I owned some movie-candles; a single one is brighter than a 60 watt bulb~.

The Premature Burial (1962)
Dir. Roger Corman

Just as dwelling on a problem can make it appear loftier than it actually is, an irrational fear can drive an otherwise sharp mind from being merely perturbed about something into the realms of utter madness...

Vincent was tied to contract elsewhere, so the role went to Ray Milland. He brought a very different aspect; he’s more sedate, more subliminally creepy, perhaps, but much less dramatic. The main problem, however, is that the film is thematically too similar to what came before, which lessens its impact. It would probably be best to leave some time between viewing, but I didn't. I binged.

The recurring musical trigger is an obvious nod to Lang; I liked that a lot.

Tales of Terror (1962)
Dir. Roger Corman

Corman's fourth Poe film is an anthology of three stories about aspects of death, each one introduced by and starring Vincent Price.

The first is based on 'Morella'. Vince is on excellent form and the castle is beautiful, but the story feels rushed and is unclear.

The second is a merger of 'The Black Cat' and 'The Cask of Amontillado'. It’s an attempt at introducing comedy into the works. Peter Lorre's performance is excellent, but the sit-com moments really weren't complementary.

Finally, 'The Facts in the Case of M. Valdemar' is the real treasure and the only one that's in any way chilling, in part due to Basil Rathbone's intensity.

The Raven (1963)
Dir. Roger Corman

It begins with Vincent reciting the classic
poem in a suitably spirited way, but afterwards becomes something very different: it's a spoof of what Corman had achieved with the Poe works prior to it. It's 80+ minutes of great men goofing around, playing scenes for laughs but failing to hit the funny-target most of the time.

Price and Lorre appear to be enjoying themselves; Karloff not so much; me even less, despite having expectations adjusted after suffering through a previous disappointed viewing many years ago.

The Haunted Palace (1963)
Dir. Roger Corman

It's billed by the studio as the sixth of Corman's Poe adaptations but in truth it's based on H.P Lovecraft's The Case of Charles Dexter Ward. It's not completely faithful to the Dexter Ward story, either, but the oppressive, xenophobic, almost squalid atmosphere will be instantly recognisable to fans of the author, and having a more complete mythology to draw from helps Corman keep everything harmonious.

The gothic graveyard scene near the beginning is a highlight, with movement, lighting, music and sets perfectly balanced, creating an eerie, potent unreality that's not wholly without faults, but even those are well-played.

The Masque of the Red Death (1964)

Dir. Roger Corman

Masque isn't just the best of Corman's Poe adaptations, it's arguably the best film that he ever made, period!

Equal credit must go to cinematographer Nicolas Roeg for the stunning array of colour that he helped realise. By bringing hues typically found in the costume department to every facet of the production, the two men created a thing of beauty. It's never lurid; it's as striking as fresh blood on white lace would've been to an audience used to B+W.

Even the performances are colourful. Vincent saturated his character with a vile substance; he's a Prince of vices in the service of an even greater one.

The Tomb of Ligeia (1965)
Dir. Roger Corman

The last of Corman's Poe films gives viewers further reason to hate the aristocracy, as if more were needed.

Vincent plays a man held in thrall from beyond the grave by a mating of two souls. The horror of it affects his waking hours and makes him more aggressive than usual.

Elizabeth Shepherd is his love interest; she's excellent in a dual role.

It throws in references to other Poe works just for the hell of it, but what really sets it apart is the alluring, poetic language used and the stunning location work in and around the ruins of a picturesque Norfolk abbey. I'd willingly forgo sleep to live there.