Vincent Price deliver one of his finest roles as a sadistic prince making glorious poetry out of every sentence he utters in this Gothic horror movie inspired by Edgar A. Poe's short story and Ingmar Bergman's "Seventh Seal". Hazel Court makes a good satanic first lady too and Jane Asher has a kind of innocent look that works here. Nicolas Roeg's excellent cinematography also help what is Roger Corman's best film.
En Italie, au dix-huitième siècle siècle, une épidémie ravage la contrée de Catagna, administrée par un prince qui s'adonne au culte de Satan. Au château où se sont réfugiés ses amis, une jeune fille Francesca est retenue prisonnière avec son fiancé. L'ambiance est à l'orgie et un homme étrange vêtu de rouge hante les couloirs du manoir. En hommage à Poe ! www.cinefiches.com
Looks amazing! It's like a Crayola factory exploded on screen! I love all the Technicolor Cloaks having a sort-of "time-clock punch-out" sequence at the end!!! Despite his wretched villainy, you couldn't help but feel pity for Vinny in this one. All the suck-ups he surrounds himself with are a sorry representation of an imperiled society as a whole.
By far my favorite Corman film and certainly one of the best macabre performances by one of my favorite actors, the devilishly campy and gentlemanly Vincent Price. The film is certainly the biggest of the Poe adaptations Corman tackled and the set design and color photography (DP Nicolas Roeg became a director of stature himself) have stayed with me. The imagery may look cheap by today's standards but it holds up.
Gorgeous colors, pulpy horror, beautiful women: what's more to love? Corman's adaptation of Poe's story is phantasmagorical, and a lot of fun. Poe himself would have appreciated this film, as it captures the campy but unsettling nature of his work. The dream sequence and the final fifteen minutes are fantastic. Don't pass this one up.
Corman's most legitimate Poe adaptation, occasionally bogged down by self-importance but mostly successfully in creating & maintaining a chilling sense of the macabre. Aiding in tonal consistency is Price's mirthlessly amoral Prospero. Remember, greed & depravity are bad, kids! Haller's production design is captured in all its resplendence by Nicholas Roeg's unique cinematography (wide-angle lenses, 360-degree pans).