For horror fans anthology films hold a special place, it often features numerous directors and writers showcasing their talents, and other times they feature a common tread amongst them. This time around it’s the incredible director and producer Roger Corman (The Pit and the Pendulum [1961] and The Masque of Red Death [1964]), using more of Edgar Allan Poe’s tales of macabre, though honestly the title does it a disservice, especially nowadays, it’s very tamed to the audiences, however there’s something special about revisiting the past of horror history, especially when featuring Vincent Price. The stories really strive for the terror but seriously the middle storyline almost falls into a comedic display, therefore advanced warning to not have high expectations, although plenty to enjoy as Richard Matheson (The Night Stalker [1972]) truly turns out three tales (actually four stories of Poe’s legendary career).
The first tale of woe, is “Morella” (1835) which has Lenora (Maggie Pierce) travelling across of long shadows of a barren landscape, thick fog, to desolate castle all in the hopes of visiting her father, Locke (Vincent Price (House on Haunted ill [1959])Hill [1959])) after a dispute lasting over 26-years. The entry to the home has us witnessing a place layered with cobwebs and dust, a stealthy approach of a large spider shocks back into reality. She continues her search, finally meeting her alcoholic father, which Price plays divinely well, we learn the deeper plot of the story and why she looks so much younger after the long duration of absenteeism. She was considered the reason for his wife, her mother Morella (Leona Gage) died due her birth, hence branded by him as a murderess, Lenora pleads with him forgiveness and understanding but the horror magnifying when seeing her mummified mother resting in a bedroom, as if waiting for to awaken from a long sleep. The story has a sinister finish that ties everything into a simple but creative conclusion, some of these aspects linger over into the film The Tomb of Ligeia [1964]. While the two actors’ performances are exceptionally well done, the story’s presentation seems to direct itself to the grieving husband rather than the underlying tragedy that befalls on the daughter. Oh a bit of trivial note, the coach driver was Edmund Cobb (House of Frankenstein [1944]), selected for his extremely ease of using horses from countless western television episodes and movies (458-credits) and just a quality actor known making the most of his numerous bit roles that needed to provide emotions past one line deliveries, at his death his acting credits tallied 666. The second story is classic in creation but falls more into comedic than terrorizing, it the retelling of “The Black Cat” (1843) which involves the drunkenness to excessiveness of alcoholism of Montresor Herringbone (Peter Lorre (The Raven [1963])) how he uses every ounce of money for another drink versus paying for rent or food, while cruelly treating his wife Annabelle (Joyce Jameson (The Son of Dr. Jekyll [1951])), in a loveless marriage. It all leads to an establishment where he picks a duel in the terms of sommelier against a well-respected wine expert Fortunato (Vincent Price); as wine merchants gathered. The expert sips the wine while the drunk gups the glasses, yet matches drink for drink identifying the names, detect vintage and subtle flavors. Price and Lorre enjoyed the share screentime the hilarity of this version of storytelling of Poe macabre tale; both works hard to control the comedic enjoyment, yet Price is mere inches from just bursting in laughter. The story does roll around to the ghastly deeds, when Montresor creates an ingenious manner to rid himself and exact his sinister design to rid an adultery affair occurring in household; though is an exquisite dream sequence of Fortunato and Annabelle, toss Lorre’s head back-and-forth. Meanwhile, Lorre does a phenomenal performance in this short story to have his character switch cruelty to his love, then comical and finally in murderous madness truly plagued by paranoia, excellent for aspiring acting study. In the end wretchedness meets justice and that’ll lead to other punishments. One note to aficionados of Poe, the story incorporates portions of “The Cask of Amontillado” (1846) story. As the final tale rolls, we have a return to sinister acts, with “The Facts in the Case of M. Valdemar” once again Price graces the screen as Ernest Valdemar and matched equally by Basil Rathbone (The Black Cat [1941]), who brings an engaged nobility and arrogance to his character, Dr. Carmichael especially heighten during his devilish experimental hypnosis. However, Ernest wife Helene (Debra Paget (The Haunted Palace [1963])), seeks retribution and has the dear doctor leave him suspended between life and death a limbo that delivers untold suffering. While the adaption of the story (originally published in December of 1845) is short for screen time, Corman retooled it to incorporate layers of suspense mixed with more gothic essence thereby it generated a fitting conclusion.
The film’s set design enhances the spectrum of lush colors, but never overstepping rather making sure to match tightly against gothic setups. The set-design in Morella echoes those long since forgotten excellence of gothic richness working incredibly especially on highly limited budgets which works well again when referencing the cinematography. Sometimes in anthology series there’s intended to have story drag-on for too long, hence timing and pacing need to work to perfection, as the flaws can’t be easily covered, the stories hold the viewers’ attention, or least need to, the middle tale is often the longest and though isn’t as sinister as the others, it contains just enough morbid humor to maintain an even flow throughout the film.
Therefore, simple quaint storytelling, some popcorn fun to reminisce for those enthralled with Poe’s stories and the classic ability of Price’s acting in various styles paranoid abusive father, an obnoxious wine connoisseur, and an old man facing death, nonetheless Corman gave a stellar air of gothic conjuring. However, as most know that anthologies often contain either wrap-around story or something that which links them together from a character or object, herein it was obviously Poe, but exactly it is the theme of death not purely in the natural form, but rather haunting past, murder, and mischievous misdeeds. Ideally capturing his deranged characters with some truly vivid trademarks from his literary career such as paranoia; irrational fears and morbid curiosities.
TAGLINE:
- A Trilogy of Shock and Horror!
https://www.imdb.com/title/tt0056552/
IMDb Rating: 6.8/10
Baron’s Rating: 6.5/10