All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
The Masque of the Red Death
Horror has a face.
Satan-worshiper Prince Prospero invites the local nobility to his castle for protection against an oncoming plague, the Red Death. He orders his guests to attend a masked ball and, amidst an atmosphere of debauchery and depravity, notices the entry of a hooded stranger dressed all in red. Believing the figure to be his master, Satan, Prospero is horrified at the revelation of his true identity.
Part of the Sight & Sound: Stewart Home Project
Roger Corman's The Masque of the Red Death proves once again that, if given the choice in horror movies between atmospheric weirdness and cheap scare tactics, I'll choose the former a hundred times out of a hundred. This film is many things - hyper-stylized, moody, gothic, campy, profane, eerie, funny - and all of these attributes I'd rate as having a higher degree of difficulty than simply being able to frighten me. If I want to be scared, a well-placed plastic spider can often do the trick. If I want to be entertained, it'll take a little something extra, like gorgeous production design and perfect music and Vincent Price chewing up the…
SATAN RULES THE UNIVERSE!
I am woefully ignorant of Roger Corman's work, having only previously seen The Trip and Wild Angels. But The Masque of the Red Death flies in the face of what I assume one of his films will be: grandiose sets, lavish costumes and visual flair to spare (possibly thanks to director of photography Nicholas Roeg).
The intertwining stories are entertaining but mostly unimportant, ultimately serving the final moral. But there's enough Technicolor shock and gore and surrealism to propel the whole affair along enjoyably.
Oh, and Vincent Price fucking rules all.
This is an adaptation of an Edgar Allen Poe story, directed by Roger Corman, with cinematography by Nic Roeg, and staring Vincent Price. Peaked your interest?
It should have. I think this movie must have been a precursor to the Italian Giallo horror films of the late 60’s and 70’s. The colors are bold, the sound effects are overpowering, and the plot takes second place to the tone and atmosphere. Vincent Price places an Italian Lord who worships Satan. He is having an orgiastic party in his castle. Meanwhile, outside the castle walls, “The Red Death” is a plague that is killing…
"Can such eyes ever have known sin?"
Corman does Bergman -- in searing Pathécolor -- and the results are appropriately chilling. Did Vincent Price ever sink his teeth into another role as decadently evil as Prince Prospero? I daresay not. The most sumptuous of Corman's Poe adaptations, superbly photographed by Nicolas Roeg.
From Corman is another Edgar Allen Poe adaptation starring legend Vincent Price. Surprisingly this is now one of my favourite films starring Vincent Price and the film has a lot to offer. Celebrating its 50th anniversary this year, we get see decorative Gothic set pieces, some interesting visual effects and a great performance from the master of menace himself. The story is about Prince Prospero (a satan worshiper) who invites people to his castle for protection from the 'red death' plague. During this time, we learn a great deal about Prospero, his brother, his wife and the clutches of death itself.
One fun thing was seeing Patrick Kelly playing Prospero's brother. I almost immeadiately identified him as the man in…
Prettiest of Corman's Poe adaptations. More Vincent Pricing.
Correctly chosen by many as the best of the Corman Poe pictures, this is the most beautiful, philosophical piece by the low-budget master. It almost seems a crime to even think of Corman that way, because this film truly does not feel as cheap as it was to make. A masterful attempt at stretching out an 8 page story into feature length.
Innocence vs knowledge
Good vs evil
Epic yet small
Artistic without getting lost in symbolism.
Creative. Lush. Ugly. Beautiful. Beautifully ugly.
Vincent Price. Jane Asher. Patrick Magee. Hazel Court.
#27/31 - 31 Days of October (2015)
I see why this is a fan favorite of the Corman/Poe movies. It's absolutely gorgeous to look at and good fun. It feels a tad heavy handed to me, though, and the symbolic material doesn't completely play for me against the fairly straightforward structure.
A little bit of camp, a little bit of colour, a little bit of Poe and a little bit of Price seems to be the formula for the AIP 60's oeuvre of Roger Corman (the Cormula, if you will). And though it's visually engaging and inventively composed, it's just a little. For me, there's more depth and intricacy to be found in AIP's trans-Atlantic equivalent, Hammer, where the symbolism is more frightening and the performances less operatic.
Nonetheless, an enjoyable horror to while away a dark evening.
Stylistically, this film is pretty amazing (which likely results from Nicolas Roeg's involvement as cinematographer), but it also features some great performances and a gripping story. This is easily one of Corman's best flicks, and deserves to be mentioned alongside stuff like X: The Man With the X-Ray Eyes or The Little Shop of Horrors.
A spectacle and some of Vincent Price's best work,
a list that is trying to contain every horror film made that is not lost and is found on the…
This list is the Letterboxd version of The Oxford History of World Cinema.
The book celebrates and chronicles over one…