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Delmer Daves's movie about ex–army scout Tom Jeffords's one-man peace mission to the Apaches, and the diplomatic partnership he formed with Cochise, has a child's-storybook clarity to it. That applies to not only its lovely Technicolor compositions but also its scenario, characterizations, and still-arresting mix of violence and delicacy. Broken Arrow wasn't the first Western to express sympathy for the Indian side in the frontier wars (Devil's Doorway came out earlier in 1950 and filed a more scathing brief on the Indians' behalf), but it was Daves's picture that had a decisive impact on popular consciousness and effectively amended the ground rules of the genre. James Stewart's Jeffords may be less compelling than the troubled Westerners the star would soon be playing for Anthony Mann, but there's real tenderness and vulnerability in the performance. Jeff Chandler scored a supporting-actor Oscar^® nomination for leavening the dignity of Cochise with sly humor. --Richard T. Jameson ... Read more

Reviews (12)

Encounter between two worlds.
I've seen Broken Arrow when I was just a kid. The power of the images of this film remained in the back of my mind. In the near past a collection of the best Far West movies was edited in Argentina. This was the first title I run to buy. I wasn't disappointed with what I found.
One of the first films, if not the first, to show common human traits in both Native Americans and Pioneer Americans. Both are shown alternatively as brave, cruel, ruthless, honorable, truthful, and wicked. A true kaleidoscopic round of basic human attitudes.
James Stewart impersonates Tom Jeffords a historical character, known for opening the postal trail thru Apache's territory. This story is shown in the movie, with the logical and expected changes that a commercial product implies. Nevertheless it depicts the relationship of trust developed between Cochise the Apache leader (Jeff Chandler) and Jeffords. They represent the better of two different worlds and work together to give peace a chance (as Lennon said). Peace is not an easy goal to reach; both of them had to pay a high price in order to obtain it.
A very young and beautiful Debra Paget, playing the role of Morningstar, contributes to give the romantic accent to the film. Jeffords was actually married to an Apache woman, but I'm not certain that the events were as shown here.
There is enough action for the epic lovers, a very good photography in Technicolor and a solid script to backup the story.
One more thing, the Apache characters are, mostly, performed by Native American actors, contributing to make the story more credible.
I think this movie deserves, in justice, to be called a classic. Enjoy it!!!.

A more accurate portrayal of the West
Broken Arrow was truly one of the first western flicks to portray the conflict between native Americans and white men with sympathy to the plight of the Indians. The story revolves around the conflict with the Apache tribe in Arizona in the 1870's.

Brooklyn born Jeff Chandler, aided by gobs of make up does a very respectable job playing Cochise. James Stewart in his genre playing Capt. Jeffords is sympathetic to the rights of the Apache to inhabit their territory. He learns the ways of the tribe to broker a piece treaty between Cochise and the untrustworthy U.S. military. While living among the tribe he falls madly in love with the ravishing Indian maiden Debra Paget (who was 17 in real life at the time of filming) and eventually marries her.

Cochise agrees to peace despite the objections of a splinter group of renegade Apache lead by Geronimo (played by a pre-Tonto, Jay Silverheels). The peace is a shaky one but eventually holds even through an attempted ambush of Cochise which results in the killing of Paget.

Blood brothers of the Southwest
This film classic is one of the few westerns that explores the Indian point of view, in war and in peace, and is the story of a proud people led by Cochise who wages a savage 10-year war with the Americans that finally ends with an honorable peace on his terms. The story is also about the courage of Tom Jeffords who is able to persuade Cochise to allow mail riders to pass through Apache country in safety. The two men form a bond of friendship and goodwill that stands the test of treachery, intolerance, racism, and betrayal from both red men and white men and teaches that a worthwhile peace cannot be achieved without cost and sacrifice. The film also depicts a tender love story involving Jeffords and an Apache girl. Their relationship blossoms in spite of a strict Apache code of courtship and Jeffords and Sonseeahray are drawn to each other immediately in spite of the hatred and mistrust between the Apaches and white men. The movie has fine action scenes that are filmed in lush Technicolor but stresses the personal relationship between Jeffords and Cochise and their struggle to bring peace to Arizona.

A Classic Western That Deserves DVD Release!
This is really intended for Amazon--please convey to whomever that a market exists--we're all waiting for the remastered DVD!!!

If you agree, please cast your vote here!!!

A fine Western
An engrossing, enjoyable Western dramatizing the Native American leader Cochise, who led the Apache nation in a struggle against white settlers in the Southwest border region. Jimmy Stewart, still young and electrifying, plays the sympathetic "Indian lover" who makes peace with the Apaches possible. The plot is very socially conscious and civil rights oriented (the director was actually on the McCarthy blacklist, working under a fake name...) and while it's a little stilted, it's also quite fun. Recommended! ... Read more

Reviews (2)

Review of Omar Khayyam
This is a wonderful film and it came as a most pleasant surprise. Omar Khayyam provides us with a splendid cinematic introduction to Persia's greatest poet. Khayyam was a compassionate and noble figure whose extraordinary literary talent and all-encompassing intellect displayed no natural boundary. Important aspects of Khayyam's fascinating personality are admirably portrayed by Cornell Wilde. The casting of the movie was exceptional and we are treated to fine supporting performances by distinguished actors such as as Michael Rennie and Sebastian Cabot among others. I was particularly impressed by extent to which this movie explored key historical issues surrounding the life and times of Khayyam. We learn about the Byzantine Roman Empire's war with Persia involving an alliance composed of Bulgars, Greeks, Franks and Lombards. We also confront a number of other historical and scientific issues in this film that are portrayed with an interesting admixture of detail and insight that seems to be unusual for such Hollywood productions. Omar Khayyam additionally provides us with a fascinating glimpse of the Assasins of Syria, believed by some to represent one of the world's first terrorist organization. As an advisor to the Persian Shah, Khayyam's effort to root the Assassins out of their extrodinary mountain fortress in northern Syria bears a striking resemblance to events taking place in Afganistan in the wake of September 11th. There is indeed an eerie parallel between the Persian Assassins, as depicted in this film, and the American and Northern Alliance-led effort now being waged to blast Osama Bin Laden and his al Qaeda units from out of the caves of Tora Bora. Omar Khayyam has a most satisfying ending. After seeing it, the viewer should be encouraged to read Fitzgerald's splendid translation of the Rubaiyat. By all means see Omar Khayyam - the film's artistry, poignancy and depth will not elude the sensitive viewer.

It's a disappointment!
Normally, Hollywood makes a very poor use of talented actors/actresses who have especial gifts, like great singing voices, for example. This is the case of this movie, which presents or introduces an extraordinary talent like Yma Sumac, without giving her the opportunity to show properly the talents she is famous for. I saw the movie just because her name was in it. What a disappointment! She is treated in the movie like a native extra! ... Read more

Reviews (169)

Beautifully Boxed 40 th Anniversary Edition
This was Cecil B. De Mille's last film as a director. De Mille's old-fashioned style of filmmaking and story telling is elegant, larger-than-life and rather elegiac and exactly suited for the enormous task of bringing this spectacle to the screen. Charlton Heston gives an excellent and powerfully dramatic performance as Moses. Yul Brynner, who approaches his role with style and confidence, is the prince who outmaneuvers Moses to the Egyptian throne in one of the best performances of his career. Supporting Heston and Brynner is a diverse and powerful cast of actors and performers. John Derek is memorable as Joshua the stone cutter. Anne Baxter is Nefretiri who yearns for the love of Moses. Cedric Hardwicke is an agreeable and levelheaded Pharaoh Sethi. Edward G. Robinson is the traitor to his people memorable for constructing the false idol golden calf. Vincent Price is the villainous and diabolically likable Baka. The beautiful Debra Paget is Baka's slave girl Lilia. Yvonne De Carlo gives a very thoughtful performance as Sephora, Moses' earthly love. John Carradine is Aaron. Woody Strode can be seen as the King of Ethiopia. Laboriously produced, Cecil B. De Mille's THE TEN COMMANDMENTS looks as though it was filmed and acted in a style more suitable to the early days of Hollywood. But that is a very positive quality. The film takes biblical events and turns them into Hollywood's version of history quite effectively. This style of filmmaking brings the larger-than-life scope of the Old Testament to the screen preserving the mystery and awesome power of the concept of a monotheistic divinity. One very effective feature of this film that reinforces this concept are the unearthly looking special effects, which are so eerily disturbing and beyond our comprehension that they truly approach a successful vision of the universal power of God. These distinctively unique special effects by the innovative John P. Fulton are essential to the telling of this story. Elmer Bernstein's rousing and inspirational score is brilliantly moving as it reinforces the vision that De Mille has created. Interestingly, in the earlier parts of this film De Mille shows us the construction of an Egyptian empire. We are witness to and experience the ingenuity of man to engineer and create such mammoth structures. But De Mille through the use of these special effects wipes all this out and shows the futility of man's efforts to subjugate other men when divine intervention prevails. This is such a brilliantly visual film that it still evokes awe and wonder to this day. This 40th Anniversary boxed set handsomely holds the restored and widescreen version of this epic film.

"His god IS God!"
That's the last line Yul Brynner utters in "The Ten Commandments", and for me, that is really the end of the film; the whole rest of the Wandering in the Desert isn't all that interesting, compared with what had gone before. You might wonder why then a five-star rating, but that's how much fun I find all the "Egyptian" characters in the movie. They certainly have all the best parts: Sir Cedric Hardwicke as Pharoah Seti; Yul Brynner as Ramses, heir presumptive; Anne Baxter as Neferteri, the throne princess destined to marry solely a Pharoah; Dame Judith Anderson as the Memnet, Egyptian slave in on a big secret; Vincent Price as Baka, the Master Builder of Seti's treasure city. Throw in Edward G. Robinson as Dathan; even though he's a Hebrew overseer, he spends most of his time among the Egyptians. Star Charlton Heston as Moses is actually kind of boring--he's one-dimensional and has no character development. But every time one of those "Egyptians" comes along on camera--pow!--you've got some wonderful scenery chewing. Check out the great special effects, too.

Good but not great edition of a classic
I already had "The Ten Commandments" on DVD, but with almost no extras and no commentary, it wasn't all that satisfying. This new Collector's Edition is easily worth its low price, to me, even as a replacement. The colors are breathtaking, Elmer Bernstein's store is still luscious, and it's probably as close to what DeMille intended as you'll get on a screen smaller than twenty feet.

I enjoyed Katherine Orrison's commentary track quite a bit (and have put her book on the movie on my wish list), although much more about the movie than some of her amateur theological comments. After spending so much time with Henry Wilcoxon, DeMille's right-hand man on this and many other movies, she has anecdotes and understanding that help you understand how the film was made. I had no idea it took five full years to make, or how some of the seemingly-odd decisions were made or even how some of the effects were created.

The other extras are a bit disappointing. The six-part documentary (complete with titles in Paramount's "Star Trek" font because they can't recreate the hand-lettering of the movie's titles, over leather that shows up in richer color than I've ever seen it) doesn't offer nearly as much as AMC's "Cecil B. DeMIlle" biography from earlier in 2004. That special included pre-matte shots of the parting of the Red Sea - the actual water in the tank, including the sides of the parted Red Sea, and how it was created. Paramount may not own that documentary, but some of that footage should have been on this disc. Without it, there are still some good interviews, but not enough behind-the-scenes footage that we now know exists.

If you like "The Ten Commandments" and don't have it on DVD, this is for you. If you have the older version but like it a lot, this one's also for you - but get the Cecil B. DeMille biography when it comes out on DVD, too.

An enduring film classic
Cecil B. DeMille's wonderful epic is a film for the ages. The entire cast is excellent, beginning with Charlton Heston's devoted and obedient Moses who lives only to serve the Lord and deliver his people from Pharoah's bondage; Yul Brynner's excellent reading as the fierce, stubborn Rameses who witnesses God's miracle from a hill overlooking the Red Sea; Anne Baxter whose love and desire for Moses was so intense and consuming that she killed for him; Sir Cedric Hardwicke's poignant Sethi who tries to forget Moses but never loses his love for his adopted son; the massive exodus of the Hebrews from Egypt to freedom; the exciting pursuit by Rameses' charioteers and soldiers of Moses and the Hebrews that culminates in the memorable Red Sea escape and the destruction of the Egyptians, with Rameses left alone to realize that Moses' God is God.

Great Film STILL Short Changed
I wonder why this edition wasn't held for the C.B. DeMille bio that Turner just produced. Instead we get a lot of anecdotes from Orrison, whom made an inaccurate statement that Brenner and Heston were about the same age. This is wrong, Brenner was in fact 9 years older than Heston. Also, her commentary really spotlighted an actor named Clint Walker who was just an extra. This was a definite who cares moment, like many within her commentary.

C.B. DeMille was the star along with Heston, Brenner and Baxter. There should have been more attention given to the 'stars'.

Why was I surprised that the packaging was 'downgraded'. You actually have to remove 'the first' disc to get to the second disc and no chapter card insert. It takes too much time to sum up this mess. Lets just hope that Warners will get the next edition right. This one needs work - except for the transfer that is which was fine the first time around without the ho hum 'extras'. ... Read more

Reviews (169)

Beautifully Boxed 40 th Anniversary Edition
This was Cecil B. De Mille's last film as a director. De Mille's old-fashioned style of filmmaking and story telling is elegant, larger-than-life and rather elegiac and exactly suited for the enormous task of bringing this spectacle to the screen. Charlton Heston gives an excellent and powerfully dramatic performance as Moses. Yul Brynner, who approaches his role with style and confidence, is the prince who outmaneuvers Moses to the Egyptian throne in one of the best performances of his career. Supporting Heston and Brynner is a diverse and powerful cast of actors and performers. John Derek is memorable as Joshua the stone cutter. Anne Baxter is Nefretiri who yearns for the love of Moses. Cedric Hardwicke is an agreeable and levelheaded Pharaoh Sethi. Edward G. Robinson is the traitor to his people memorable for constructing the false idol golden calf. Vincent Price is the villainous and diabolically likable Baka. The beautiful Debra Paget is Baka's slave girl Lilia. Yvonne De Carlo gives a very thoughtful performance as Sephora, Moses' earthly love. John Carradine is Aaron. Woody Strode can be seen as the King of Ethiopia. Laboriously produced, Cecil B. De Mille's THE TEN COMMANDMENTS looks as though it was filmed and acted in a style more suitable to the early days of Hollywood. But that is a very positive quality. The film takes biblical events and turns them into Hollywood's version of history quite effectively. This style of filmmaking brings the larger-than-life scope of the Old Testament to the screen preserving the mystery and awesome power of the concept of a monotheistic divinity. One very effective feature of this film that reinforces this concept are the unearthly looking special effects, which are so eerily disturbing and beyond our comprehension that they truly approach a successful vision of the universal power of God. These distinctively unique special effects by the innovative John P. Fulton are essential to the telling of this story. Elmer Bernstein's rousing and inspirational score is brilliantly moving as it reinforces the vision that De Mille has created. Interestingly, in the earlier parts of this film De Mille shows us the construction of an Egyptian empire. We are witness to and experience the ingenuity of man to engineer and create such mammoth structures. But De Mille through the use of these special effects wipes all this out and shows the futility of man's efforts to subjugate other men when divine intervention prevails. This is such a brilliantly visual film that it still evokes awe and wonder to this day. This 40th Anniversary boxed set handsomely holds the restored and widescreen version of this epic film.

"His god IS God!"
That's the last line Yul Brynner utters in "The Ten Commandments", and for me, that is really the end of the film; the whole rest of the Wandering in the Desert isn't all that interesting, compared with what had gone before. You might wonder why then a five-star rating, but that's how much fun I find all the "Egyptian" characters in the movie. They certainly have all the best parts: Sir Cedric Hardwicke as Pharoah Seti; Yul Brynner as Ramses, heir presumptive; Anne Baxter as Neferteri, the throne princess destined to marry solely a Pharoah; Dame Judith Anderson as the Memnet, Egyptian slave in on a big secret; Vincent Price as Baka, the Master Builder of Seti's treasure city. Throw in Edward G. Robinson as Dathan; even though he's a Hebrew overseer, he spends most of his time among the Egyptians. Star Charlton Heston as Moses is actually kind of boring--he's one-dimensional and has no character development. But every time one of those "Egyptians" comes along on camera--pow!--you've got some wonderful scenery chewing. Check out the great special effects, too.

Good but not great edition of a classic
I already had "The Ten Commandments" on DVD, but with almost no extras and no commentary, it wasn't all that satisfying. This new Collector's Edition is easily worth its low price, to me, even as a replacement. The colors are breathtaking, Elmer Bernstein's store is still luscious, and it's probably as close to what DeMille intended as you'll get on a screen smaller than twenty feet.

I enjoyed Katherine Orrison's commentary track quite a bit (and have put her book on the movie on my wish list), although much more about the movie than some of her amateur theological comments. After spending so much time with Henry Wilcoxon, DeMille's right-hand man on this and many other movies, she has anecdotes and understanding that help you understand how the film was made. I had no idea it took five full years to make, or how some of the seemingly-odd decisions were made or even how some of the effects were created.

The other extras are a bit disappointing. The six-part documentary (complete with titles in Paramount's "Star Trek" font because they can't recreate the hand-lettering of the movie's titles, over leather that shows up in richer color than I've ever seen it) doesn't offer nearly as much as AMC's "Cecil B. DeMIlle" biography from earlier in 2004. That special included pre-matte shots of the parting of the Red Sea - the actual water in the tank, including the sides of the parted Red Sea, and how it was created. Paramount may not own that documentary, but some of that footage should have been on this disc. Without it, there are still some good interviews, but not enough behind-the-scenes footage that we now know exists.

If you like "The Ten Commandments" and don't have it on DVD, this is for you. If you have the older version but like it a lot, this one's also for you - but get the Cecil B. DeMille biography when it comes out on DVD, too.

An enduring film classic
Cecil B. DeMille's wonderful epic is a film for the ages. The entire cast is excellent, beginning with Charlton Heston's devoted and obedient Moses who lives only to serve the Lord and deliver his people from Pharoah's bondage; Yul Brynner's excellent reading as the fierce, stubborn Rameses who witnesses God's miracle from a hill overlooking the Red Sea; Anne Baxter whose love and desire for Moses was so intense and consuming that she killed for him; Sir Cedric Hardwicke's poignant Sethi who tries to forget Moses but never loses his love for his adopted son; the massive exodus of the Hebrews from Egypt to freedom; the exciting pursuit by Rameses' charioteers and soldiers of Moses and the Hebrews that culminates in the memorable Red Sea escape and the destruction of the Egyptians, with Rameses left alone to realize that Moses' God is God.

Great Film STILL Short Changed
I wonder why this edition wasn't held for the C.B. DeMille bio that Turner just produced. Instead we get a lot of anecdotes from Orrison, whom made an inaccurate statement that Brenner and Heston were about the same age. This is wrong, Brenner was in fact 9 years older than Heston. Also, her commentary really spotlighted an actor named Clint Walker who was just an extra. This was a definite who cares moment, like many within her commentary.

C.B. DeMille was the star along with Heston, Brenner and Baxter. There should have been more attention given to the 'stars'.

Why was I surprised that the packaging was 'downgraded'. You actually have to remove 'the first' disc to get to the second disc and no chapter card insert. It takes too much time to sum up this mess. Lets just hope that Warners will get the next edition right. This one needs work - except for the transfer that is which was fine the first time around without the ho hum 'extras'. ... Read more

Reviews (13)

Love Me Tender
Comparing this film with other films from the same period I think it is a very good film. Of course it is a musical. There is also a forgotton significance to this film. Most of the Elvis concert footage from this period is weak. This film allows an Elvis fan to see him perform via Paramount film footage. Even though they are movie songs and he is lipsyncing he still throws in those 1950's moves.

The movie was filmed in 1956 and it is Elvis Presley's first role. He receives third billing to veteran actor Richard Egan and actress Debra Pagent who is known for her role in The Ten Commandments.

It is a western set in the Civil War Period. Vance (Richard Egan)is called to serve in the Confererate Army. Clint (Elvis Presley) is too young to serve and stays home to tend the homestead. Cathy (Debra Pagent) is Vance's girlfriend and her family is killed in the war.

Cathy goes to stay with Clint & his mother until Vance returns. At some point they are given bad information that Vance has perished in the war and eventually Clint & Cathy become married.

Vance and his army buddies (not knowing the war is over) rob a train office and are pursued by army officials as they head home. Once home Vance finds out about Clint & Cathy and though he pretends to be happy for them he is awefully hurt by the marriage.

Though Clint is glad his brother is alive and well he is also growing increasingly uncomfortable with the situation. Elvis gives a really good performance as he starts becoming paranoid and thinking Cathy & Vance still have something going between each other.

The tension ensues between Clint & Vance over Cathy and over the money stolen from the train office and ends in a showdown between Clint, Vance and his old army buddies.

Elvis is hit by a bullet and dies in the end.

For those who say Elvis cannot act, I guess they never watched him die.

Elvis' film debut and first view on-screen is a milestone!
"Love Me Tender" was a complete success when it first came to theaters November 15, 1956. The love triangle in this story is one-in-a-million! Elvis does such good acting in this picture that some fans could consider it his finest acting...and it's only his first movie! Elvis does four songs in the picture: "We're Gonna Move", "Love Me Tender", "Let Me", and "Poor Boy." Although "Love Me Tender" is set after the Civil War the songs Elvis sings are closely related to rock'n'roll. Very disappointing when Elvis' character dies near the end. Elvis' mother did not like that at all. I cried when Elvis' character dies, and after the family walks solemnly away from his grave there is a ghostly close-up of Elvis singing "Love Me Tender." I was shocked, and cried at this! Elvis fans, if you want something a little more uplifting, try "Loving You." Elvis didn't like when he did the songs in "Love Me Tender" because his band wasn't there with him on-screen.

My Favorite Elvis Movie!
Love Me Tender is, by far, my favorite Elvis movie. Yes, Elvis sings but it is the storyline that clinches my 5 star rating.

Elvis plays Clint Reno, the youngest of his brothers who stays behind to tend the family farm while the others go off to fight in the Civil War. The family receives word that the oldest brother, Vance (played by a very handsome Richard Egan) is killed. Cathy, Vance's love, has lost her family in the war and now that Vance is killed, she has no one. Clint marries her and believes that she loves him the way in which he loves her. He does not realize that her heart still belongs to Vance.

Their lives are forever changed when Vance along with his brothers, reappears. He is intent upon marrying Cathy, of spending the rest of his life with her. He soon finds out that she is not free. She is now Clint's wife. Shattered and heartbroken, he conceals his feelings from his younger brother. Yet, he cannot contain the overwhelming love he has for Cathy. Nor can Cathy remain so indifferent. Knowing that Clint will soon discover the feelings they still have for each other, he makes plans to go away. But Fate intervenes.

One reckless act during the war jeopardizes Vance's future. He and his fellow soldiers have taken money. Money that has been traced back to them. They are ordered to return it or face prison. Vance and his brothers agree to this intent upon finding the other members of his troop that took part in this robbery.

Unexpectedly, Clint meets up with the members of Vance's troop and learns the horrible truth. Vance had always loved Cathy. Had longed to marry her. He believes that he was played for a fool and his jealousy and anger escalate causing him to act rashly.

Love Me Tender is an excellant story. This isn't a musical nor does Elvis sing in every scene. The plot is tightly woven with sadness, betrayal, jealousy and a love that will not be denied.

Beforwarned, the ending isn't happily-ever-after. Elvis does die yet I believe that there could have been no other ending. He could never have made Cathy happy especially once Vance came back. With every glance she cast his way, the longing was there in her eyes. And this he knew . . .

An excellant plot, believable characters and the sound of the King's voice. What better way to spend an afternoon. :)

Elvis Presley's first film at the age of 21.
Nothing extra in this DVD but the original trailer of "Love Me Tender" available to see in English and the Spanish version and trailers of FLAMING STAR (1960) and WILD IN THE COUNTRY (1961). This film is shown in squeezy widescreen.

Reno Brothers
Good movie worthy of any western collection as well as Elvis collection. Again for those who don't think Elvis had talent to act this first movie showed what could have been developed. The death scene is good. Good movie for the whole family. ... Read more

Reviews (14)

Vincent Price and Roger Corman take a try at Lovecraft
"The Haunted Palace" is arguably the best adaptation 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 is "The Case of Charles Dexter Ward" and 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.

The best screen adaptation of H.P. Lovecraft's work
"The Haunted Palace" is arguably the best adaptation 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 is "The Case of Charles Dexter Ward" and 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.

Moody Gothic Interpretation of H.P. Lovecraft Story
"The Haunted Palace", has always been my favourite of the A.I.P productions that marked a highly successful collaboration between Director/Producer Roger Corman and veteran Hollywood star Vincent Price. Often using the unique stories by Edgar Allan Poe as their basis here the story is actually an adaptation of H. P. Lovecraft's "The Case of Charles Dexter Ward". which involves scorcery, curses, and evil doings over many generations in a dammed town in New England. Corman, famed for producing his efforts with minimal expense and an abundance of reusable footage here has seemingly extended his range with a solid, atmospheric and highly polished version of the horror tale that is as always greatly aided by Vincent Prices' mastery of the suspense /horror genre. Here he plays a dual role of 18th Century warlock Joseph Curwen, burnt by angry villagers but not before laying a curse on them, and his great great grandson Charles Dexter Ward who claiming his inheritance unknowingly stumbles into the curse and suffers the consequences of it.

The story begins in the 18th century township of Arkham, where the town is bedevilled by strange occurences where the women of the town are being lured away at night to the mysterious castle owned by Joseph Curwen. Once there they are made part of Curwen's attempts to make contact with the greater gods that once ruled the earth and offer unlimited power to those who feed their needs. The outraged menfolk soon take matters into their own hands and Edgar Weeden (Leo Gordon), has a particular axe to grind with Curwen in that he has stolen his ladylove Hester and is using her as his assistant in his deadly rituals. The men storm the castle and drag Curwen outside and burn him as a warlock. Before dying however Joseph places a curse on the town, its inhabitants and its decendants. The story then jumps foward 110 years where we find Arkham an accursed place where the descendants of the original villagers lead a fearful cursed existence. Into this unsavory environment comes Charles Dexter Ward and his wife Ann (Debra Paget), who have come to Arkham unknowingly to claim the family inheritance. He is met by hostility by the fearful locals who see that Charles has an exact likeness to the still feared Great Great Grandfather Joeph. Warned about the evil that lurks in the castle Charles rebuffs these supersitions. The only townsperson who tries to help the couple is Dr. Willet (Frank Maxwell), who fills Charles and Ann in on the centuries old curse. At the Castle Charles finds an eerie portrait of his great great grandfather which has a strange feel to it and before long Joseph Curwen's spirit begins to invade Charles' body. He vows much to Ann's distress to stay in the Castle and makes the acquaintance of the centuries old caretaker of the castle Simon (Lon Chaney Jr.), who begins to help Charles/Joseph in his devilish practices. Charles now almost totally taken over by Joseph's spirit sets out on a campaign to wreak revenge on the ancestors of the towns people who burnt him at the stake. First Ezra Weeden in killed by a mutant creature he has been keeping locked up for years. In a struggle with the creature he is pushed into a fire to burn just as his ancestor burnt Joseph Curwen. Micah Smith (Elisa Cook Jr.), is next and suffers a horrific death when Charles pours petrol over him and sets him alight. The townsfolk decide once again to take matters into their own hands and invade the castle where Charles/Joseph has not only resurrected Hester but is planning to sacrifice Ann, to the demon Gods. In the resulting blaze Dr. Willet manages to get Ann and a suddenly freed Charles out of the blazing castle however the spirit of Joseph Curwen is still strong as in an eerie moment it appears Charles is actually still possessed by Curwen.

"The Haunted Palace", boasts an expensive look to it that belies the usual small budgeted productions associated with Roger Corman. Certainly the casting of many seasoned veterans helps tremendously to lift the standard of this production. After his triumph in the classic "House of Wax", Vincent Price enjoyed a highly profitable second career as a horror star and his work for AIP and Roger Corman cemeted his stardom in this field. Debra Paget, a regular in films throughout the 1950's had her last screen appearance in "The Haunted Palace", before retiring and here makes a beautiful and spirited herione. Veterans Lon Chaney Jr., Elisha Cook Jr. and especially Frank Maxwell lend their well seasoned talents to the scenerio and add great weight to the supporting characters. Rich in atmosphere the castle scenes, those in the eerie graveyard and the frightening scenes showing the mutated townsfolk give "The Haunted Palace", an "A" class feel to what is essentially a "B" horror effort it. On the technical side Ronald Stein produced one of his most effective musical scores here which works greatly to highlight the scenes of uncertainity and fear that arise after Charles' arrival in the town. Like in his earlier "The Fall of the House of Usher", Corman shows his expertise often with limited budgets in producing satisfying mist shrouded landscapes and musty suffocating interiors and thi sfilm boasts some of his best work in that area.

First and formost "The Haunted Palace", is a great vehicle for the often underestimated talents of the legendary Vincent Price who was expert at colouring his interpretations with equal doses of charm and menace. In the dual role of Charles/Joseph he delivers a terrific performance which switches from a gentlemanly presence to one of pure evil. It is him that makes this Corman production stand out as great horror entertainment If you like richly atmospheric horror tales based on interestign literary sources dont fail to catch Vincent Price up to all his old evil in Roger Corman's "The Haunted Palace".

Lovecraft's First Film Adaption is Decent
This is a decent adaption of H.P. Lovecraft and while generally regarded higher than most of them by critics it lacks the entertainment value of even something like Bleeders, even more so Unnamable, Castle Freak and Lurking Fear. There's not even any spice in another older film adaption like Dunwhich Horror. A straight forward gothic film that lacks the modern convieniences of gore and nudity. The more recent Resurrected based also on the same novel, The Case of Charles Dexter Ward, is a superior film version of this story. Recommended for diehard Lovecraft fans and diehard old school gothic film fans only.

the haunted palace
good solid vincent price vehicle with lon chaney jr too. no way you can go wrong with this combination! quite enjoyable with price doing what he does best. if you liked "house of wax", "fall of the house of usher", or "the pit and the pendulum", you'll like this. it's another 'man on the edge of madness' flick with an evil entity/monster too. have fun! ... Read more

Reviews (6)

John Philip Sousa Fantasia
This is an amusing little yarn on Sousa and his music. Being only about 90 minutes long the movie does not attempt to be comprehensive with his life, but concentrates instead on creating a portrait of him. Clifton Webb has Sousa's somewhat stiff, yet humorous personality down pretty well. The episodes depicted in the movie are brief vignettes, loosely based on some actual events. The Marine Corps probably did treat their March King in a rather off-hand manner as shown in the movie. Sousa did make the Marine Band from a 3rd rate emsemble into one of the best military bands in the country, and the Marines could not really offer him anymore than what they had already given him.

The truth is Sousa saw an opportunity to market himself to a growing American audience that was starting to become more sophisticated in its musical tastes. He would perfect the band tour concept. Others had done it before him, but Sousa would make himself into a super-star, and truly traveled the world. The movie accurately shows his formation of his own Sousa band after leaving the Marines in 1892. Where the movie strays a bit is with the silly sideline romance. Here we have the typical 1950s guy meets girl thing going on. It's cute, but kind of takes away from the subject matter. Its also hard to say whether this is a musical or not? There is a lot of singing and show numbers presented, based, supposedly on Sousa's music. We do get to hear some good versions of "Semper Fidelis" which is played ad noseum!

I would have liked this movie a lot more if it had been a little more serious and showcased some more of Sousa's music. He really did write more than just 10 marches you know! Plus countless classical transcriptions, overtures, songs, novely items and arrangements of old American folk music. Sousa was our most prolific composer, his music typifies an era that is no more in this country. The Sousa band didn't march as much as shown in the movie. The band was intended as a symphonic ensemble. Sousa had enough marching from his Marine days! His band was certainly accomplished, and had some very fine players in it. To say as Americans often do that it was the best in the world is a bit of Yankee over-statement. Compared to most bands in the US, yes, the Sousa band was among the best. Abroad in Europe there were many fine military bands that were just as good. Sousa knew this, and he was careful not to over-step his bounds. He received many fine praise from European audiences, and this must have pleased him very much indeed. Sousa knew that the Coldstream Guards in London, The Garde Du Corps in Berlin and many others were just as good, lacking only the showmanship and Sousa's ability to market himself and his band and music.

The movie shows the warm relationship Sousa had with his wife, who always supported him and his music. "Stars and Stripes" came into Sousa's mind whilst returning from abroad after he had learned that his manager had died in the States. The movie cleverly marches us into the Sousa legend at the end which is probably just as good an ending as any. This is an old style movie with a lot of cute touches in it. It provides a musical fastasy of Sousa and his times. You can get an idea of who the March King was by watching it, but in order to get a truer picture I would suggust Paul E. Bierly's biography "John Philip Sousa: American Phenomenon"

An heroic American figure
This is a wonderful movie. I have been a serious Sousa fan since I stumbled across the movie several months ago. I marvel at the impact Sousa had both during his life and since. Great composers have an ability to far transcend their own lifetime and enrich ours. This is exemplified in the final scene where an ethereal Sousa is leading all bands.

Stars And Stripes Forever is Americana at its best!
Wonderful portraying by Clifton Webb. No other American musical comes close to "Stars and Stripes Forever." If you've watched this film and enjoyed it, you'll love "The Music Man". No musical holds a candle to these two! If you're proud to be an American, like me, you'll be entertained by this movie every time you see it. The way the marches are played in this film is extraordinarily exuberant. Treat yourself to a outstanding biography that is Americana at its best!

The story of John Philip Sousa, the March King
Well, I have just watched "Stars and Stripes Forever" (again) and gotten teary eyed at the ending (again). As in most musical bio-pics, the historical details play second fiddle to the music in this 1952 film directed by Henry Koster. This film follows the career of John Philip Sousa (Clifton Webb), from his last days in the Marine Corp to the end of the Spanish American War. Helping American's March King along the way are his wife, Jennie (Ruth Hussey), young Willie Little (Robert Wagner), an enthusiastic young man and inventor of the Sousaphone, and Lily Becker (Debra Paget), the love of young Willie's life. Musical highlights of Sousa's marches includes "Semper Fidelis," "Washington Post March," "Presidential Polonaise," "High School Cadets March," "El Capitan" and the title march (which came to Sousa on an ocean voyage and which he wrote down without ever changing a note). My favorite scenes are between the Sousas, as when he insists he has written a new ballad called "My Love is a Weeping Willow," but which she plays as the "Semper Fidelis" march (lyrics by Ken Darby). Then there is the point when Sousa is shocked to discover Willie sneaking into Lily's compartment on the train and stunned to learn the couple are married. "But they know how I feel about that," he sputters helplessly, having a rule that none of his musicians can travel with their spouses. "Yes," agrees his wife, "so that is why you have to pretend you don't know." I just love the way she handles him. Then there is the finale, when Willie returns from the Spanish American War, having lost a leg, and is called up on stage by Sousa to play with the band as they introduce his latest march, "Stars and Stripes Forever." I have always thought this was an awesome march and when the music swells as we see American soldiers marching to its spirited strains, it always gets me choked up. Now, of course, more than ever.

Outstanding family entertainment.
This is very much an "old fashioned" movie, with acting, timing, dialog, etc.without the use of todays special effects, nudity, profanity and violence. It appeals to your brain, rather than to your animal instincts. ... Read more

Reviews (24)

Solid Sequel to The Robe
Demetrius and the Gladiators is a good, solid direct sequel to the The Robe. Victor Mature (Demetrius the slave) reprises his role from the earlier movie as his master (played by Richard Burton in The Robe)is dead and Demetrius is now free and protecting the robe of Christ that the mad emperor Caligula seeks thinking, in his twisted mind, that it will make him a god. If you are a fan of Roman epics such as Quo Vadis, Spartacus, or The Robe then this movie will be a wonderful treat for you!

Wonderful Caligula-Jay Robinson and much more.
I've come to love this movie. "Camp" or not "camp", it doesn't matter. I find it clearly superior to "The Robe", for which this one was intended as a sequel, in view or the former's success and the appreciation that Victor Mature got as Demetrius. What I like about this movie is:

-The intelligent subtext. With all the fights and -admittedly cheesy- effects and spectacle, it is about a man's fundamental doubts. Demetrius's faith is shaken because he can't cope with the fact that an evil world, in which harm is done to the innocent, is the creation of an all-loving God that fails to show Himself when most needed.

-Extraordinary supporting cast. Jay Robinson is wonderful "over the top", as they say. Absolutely and unashamedly flamboyant. I imagine that he liked the part very much and had fun with it. It is unfortunately that his career wasn't successful enough afterwards. He is Caligula! Or rather, I wish Caligula were this way: at least he would have been funny, cunning and extravaganly alluring! Susan Hayward is not wrong as Mesalina. See the final farewell to Demetrius,in which see seems experiencing an imagined or remembered orgasm. Michael Rennie is an over-dignified "Peter", but the most noble character, as another reviewer has suggested is Glycon. Clearly a superior to all the others, particularly to Demetrius himself. At the end he is put on the same level as the Apostle himself. The fact that he was a black actor is very positive (the film was realeased in 1954).

-Great score: Franz Waxman at his most heroic and religious. Or sometime, ominous, as the sinister fanfare that accompanies the gladiators to the arena, in order to perform "the marriage of life and dead", is.

-The film has given me food for thought. About slavery, about the plight of men forced to fight or die, about faith and religion, about men as warriors... "Demetrius and the gladiators" can be read as mere entertaiment, but if you habor some thought about those bygone ages and how human fate was tackled in the Classical world, it gives you material -forceful images and plot- to do that. Don't expect, of course, historic accuracy. This is not necessary at all and it is not the fuction of cinema.

Well, I have here "Demetrius and the Gladiators", I've watched it a couple of times, and I know that I can watch in many more. Then, worth the purchase. By the way, "Spartacus" depends on this one in many places.

Better than Gladiator.
Victor Mature makes a better gladiator than Russell Crowe in this sequal to "the Robe."

Join Demetrius in his journey as he battles gladiators, tigers, Caligula, and most dangerous his feelings for the wiley and seductive Susan Haywood. What makes this movie so entertaining is the moral dilemma he faces, and his fall and redemption. This is a real man facing real temptations in an immoral world, much like we are in today.

Jay Robinson makes a welcome return as the emperor Caligula, chewing up the scenary with his wonderful performance.

This is like gladiator with heart.

HEY!
We ordered this apooey movie and it has never come to us! Three months ago! HUMPH! I WAAAAANNNA SEE IT! AAAAAAAAAMAAAAAZOOOOOOOOOOOOON! WHERE'S MY STUFF!????(I hope my Eowyn Figure comes....)

A pivotal role for an African-American actor
The sequel to 1953's "The Robe" sports the same quality production values, three of the principal actors, a wonderful score, and the same reverence for the Scriptures. One of the bonuses in this film is the addition of the supporting character, Glydon, portrayed by stage actor William Marshall. Although he is Demetrius's servant, "Glydon" is in no way subservient to the gladiator. In fact, in some scenes, the actor, with his commanding speech and stature, comes across as an intellectual and spiritual superior. This role is somewhat a trend setting one for a film from the mid-50's.

Even at the film's end, Marshall is seen walking as an "equal" with stars Victor Mature and Susan Hayward.

Film buffs may not list this film as a benchmark in cinematic, history but African-Americans can count Marshall's performance as much a breakthrough as anything by his more established contemporaries Sidney Poiter or Harry Belafonte. ... Read more

Reviews (24)

Solid Sequel to The Robe
Demetrius and the Gladiators is a good, solid direct sequel to the The Robe. Victor Mature (Demetrius the slave) reprises his role from the earlier movie as his master (played by Richard Burton in The Robe)is dead and Demetrius is now free and protecting the robe of Christ that the mad emperor Caligula seeks thinking, in his twisted mind, that it will make him a god. If you are a fan of Roman epics such as Quo Vadis, Spartacus, or The Robe then this movie will be a wonderful treat for you!

Wonderful Caligula-Jay Robinson and much more.
I've come to love this movie. "Camp" or not "camp", it doesn't matter. I find it clearly superior to "The Robe", for which this one was intended as a sequel, in view or the former's success and the appreciation that Victor Mature got as Demetrius. What I like about this movie is:

-The intelligent subtext. With all the fights and -admittedly cheesy- effects and spectacle, it is about a man's fundamental doubts. Demetrius's faith is shaken because he can't cope with the fact that an evil world, in which harm is done to the innocent, is the creation of an all-loving God that fails to show Himself when most needed.

-Extraordinary supporting cast. Jay Robinson is wonderful "over the top", as they say. Absolutely and unashamedly flamboyant. I imagine that he liked the part very much and had fun with it. It is unfortunately that his career wasn't successful enough afterwards. He is Caligula! Or rather, I wish Caligula were this way: at least he would have been funny, cunning and extravaganly alluring! Susan Hayward is not wrong as Mesalina. See the final farewell to Demetrius,in which see seems experiencing an imagined or remembered orgasm. Michael Rennie is an over-dignified "Peter", but the most noble character, as another reviewer has suggested is Glycon. Clearly a superior to all the others, particularly to Demetrius himself. At the end he is put on the same level as the Apostle himself. The fact that he was a black actor is very positive (the film was realeased in 1954).

-Great score: Franz Waxman at his most heroic and religious. Or sometime, ominous, as the sinister fanfare that accompanies the gladiators to the arena, in order to perform "the marriage of life and dead", is.

-The film has given me food for thought. About slavery, about the plight of men forced to fight or die, about faith and religion, about men as warriors... "Demetrius and the gladiators" can be read as mere entertaiment, but if you habor some thought about those bygone ages and how human fate was tackled in the Classical world, it gives you material -forceful images and plot- to do that. Don't expect, of course, historic accuracy. This is not necessary at all and it is not the fuction of cinema.

Well, I have here "Demetrius and the Gladiators", I've watched it a couple of times, and I know that I can watch in many more. Then, worth the purchase. By the way, "Spartacus" depends on this one in many places.

Better than Gladiator.
Victor Mature makes a better gladiator than Russell Crowe in this sequal to "the Robe."

Join Demetrius in his journey as he battles gladiators, tigers, Caligula, and most dangerous his feelings for the wiley and seductive Susan Haywood. What makes this movie so entertaining is the moral dilemma he faces, and his fall and redemption. This is a real man facing real temptations in an immoral world, much like we are in today.

Jay Robinson makes a welcome return as the emperor Caligula, chewing up the scenary with his wonderful performance.

This is like gladiator with heart.

HEY!
We ordered this apooey movie and it has never come to us! Three months ago! HUMPH! I WAAAAANNNA SEE IT! AAAAAAAAAMAAAAAZOOOOOOOOOOOOON! WHERE'S MY STUFF!????(I hope my Eowyn Figure comes....)

A pivotal role for an African-American actor
The sequel to 1953's "The Robe" sports the same quality production values, three of the principal actors, a wonderful score, and the same reverence for the Scriptures. One of the bonuses in this film is the addition of the supporting character, Glydon, portrayed by stage actor William Marshall. Although he is Demetrius's servant, "Glydon" is in no way subservient to the gladiator. In fact, in some scenes, the actor, with his commanding speech and stature, comes across as an intellectual and spiritual superior. This role is somewhat a trend setting one for a film from the mid-50's.

Even at the film's end, Marshall is seen walking as an "equal" with stars Victor Mature and Susan Hayward.

Film buffs may not list this film as a benchmark in cinematic, history but African-Americans can count Marshall's performance as much a breakthrough as anything by his more established contemporaries Sidney Poiter or Harry Belafonte. ... 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

Reviews (19)

One of the Creepy Corman Classics
Directed by the venerable king of quality low-budget filmmaking, Roger Corman, and scripted by the prolific and popular SF and horror writer Richard Matheson, TALES OF TERROR is comprised of three vignettes based on stories by Edgar Allan Poe. The incomparable Vincent Price stars in all three, with Peter Lorre and Basil Rathbone each co-starring (separately, alas) in one of the others. Any knowledgeable horror fans should be nearly euphoric after reading the credentials behind this flick--and they won't be disappointed!

The first story is based on Poe's "Morella," but Corman and Matheson take great liberties to make the tale darker and scarier than the original. Unfortunately, the altered plot and its resolution (?) are a bit hard to follow, and it is therefore the weaker of the three plays.

The second--and best!--vignette, "The Black Cat" is actually a composite of Poe's story of the same name and his "The Cask of Amontillado." Peter Lorre hilariously hams it up as the cuckolded Montresor Herringbone, and Vincent Price is also a riot as Herringbone's nemesis, Fortunato. In spite of the humor, however, there are still plenty of chills when Lorre builds a wall around his "problems."

The final vignette, based on Poe's "The Facts in the Case of M. Valdemar," features the wonderful Basil Rathbone as the hypnotist who uses his powers to put the titular character, Valdemar (portrayed by Price), in a sort of limbo between life and death. Again, Corman and Matheson have taken liberties with the original story (e.g., making the hypnotist malevolent and self-serving), but this time it's to great effect, as Rathbone makes a delightfully devilish villain. The make-up job on Price in the final scene is pretty creepy, too, in spite of the film's low-budget effects. Good old-fashioned frights in this one.

The DVD edition of TALES OF TERROR is short on extras (trailer only)--it would've been great to have a Corman commentary on this one, which many of the other MGM releases of Corman's films DO have--but seeing this film in widescreen makes it well worth the reasonable cost. A worthy addition to any fan of classic horror.

Five Stars...
Being a fan of Vincent Price and Peter Lorre for that matter, this was just priceless (no pun intended). Aside from Peter Lorre not aging well at all, this just makes his "tale" all the more realistic.
The first tale is called Morella where Vincent Price blames his visiting daughter for the death of his wife. Yet there is a twist to the story regarding the daughter. Really well done.

The second tale is The Black Cat with Peter Lorre as the main character here in one of the best parts I've seen him play.
He puts pathetic, mean and humorous into one role and is hysterical doing the classic wine testing scene with Vincent Price. I was truly laughing out loud. The facial expressions that Price has in this one when acting with Lorre are worth this DVD alone.

The third and last tale is the scariest in my view. It is called the Case of M. Valdemar where Basil Rathbone plays a man who tries to gain control over a dying Vincent Price. This is a pretty scary one, and Rathbone completes his role nicely.

The ladies in these tales (Maggie Pierce, Joyce Jameson and Debra Paget) are all absolutely stunning. You just can't compare the beauty of that day with today.

Get this DVD, especially if you like Price and Lorre....not to mention Poe. I promise you it is something you will watch over and over again.

A wonderful horror anthology
Vincent Price leads an all-star cast in this horror film. Price appears in all three segments. In the first, he plays a man named "Locke" who blames the death of his wife on his daughter who's just came back after 26 years. This is great, verbal horror sort of like a throwback to "Night Gallery" or other dramatic anthology shows, where the horror is in the character's personality and not in the graphics. only the final minutes does the story turn into what AIP movie goers expect. The second story, as has been voted by mostly all on here, is the stand-out. Peter Lorre and Joyce Jameson team up with Vincent in a re-telling of "Cask of Amontillado" but re-titled "The Black Cat". If you've heard or read the story, you pretty much know what's going to happen...the wine tasting scene is hilarious. The final segment offers Basil Rathbone and Vincent although Rathbone has the most action as Price's character, Valdemar, is bed-ridden. Rathbone plays an evil mesmerist who mentally tortures Valdemar's wife and keeps Valdemar in suspended animation you could say in an effort to kill him and run off with the wife! The segment ends with a memorable scene that isn't really sick...but it's not for the squeamish, either! It's one of Rathbone's finest roles, aside from Sherlock Holmes and the hilarious nut-case character in "Comedy of Terrors". This film came along in 1962. At 85 minutes in length, it's short for a feature-length film...but the material and the first-rate acting by everyone make it seem even SHORTER!!

GARBAGE
Don't waste your time or money with this DVD. The best part of the DVD is probably the Trailers and most of those are Garbage also. My DVD came loose in the package and scratched, too bad it didn't do any damage to ruin the Movie. I couldn't wait until the Movie was over, I would have stopped it earlier, but wanted to see if any damage was done. You'll be counting the minutes and seconds after watching the first half or even earlier. The last story was stupid and horrible and should have been left off. Don't waste your money, spend it on the cheap $5-6 horror DVD's, because at least those can be somewhat entertaining.

Tales of tepid terror
What happens when you take great actors (Vincent Price, Peter Lorre, Basil Rathbone), a great writer (Richard Matheson), great source material (E.A. Poe) and a passable director (Roger Corman) and have them make a movie? Nothing very good, as it turns out.

This movie is actually three short movies linked by Price's narration. The first story deals with a young woman who returns to the home of her father, a recluse tormented by the death of his wife; how she died is not really clear, but she is nonetheless intent on revenge. The second story - the best of the three - is a take-off on the Cask of Amontillado with Lorre as a murderous drunk. The final story has Rathbone as a mesmerist who traps Price in a state between life and death.

All three stories have potential, the first and last for horror, and the middle one for humor. Unfortunately, none of the stories are executed well, a fault that seems to lie primarily with Corman. For fans of the Poe movies of the sixties (directed primarily by Corman), this might be worth watching, but for horror fans, it is best to look elsewhere. ... Read more

Amazon.com

When you've got Vincent Price, Basil Rathbone, and Peter Lorre all inthe same movie, how can you go wrong? Tales of Terror is a trio of Edgar Allen Poe stories, starring three of horror's greats and produced and directed by the immortal Roger Corman. The first story, "Morella," involves a girl (Debra Paget) who returns to her isolated, spooky family home to see her estranged father (Price) for the first time in 26 years. He's let the housekeeping slide a bit--cobwebs abound and, oh, yes, his dead wife is still upstairs. Peter Lorre joins the fun for "The Black Cat," a piece with comic flavor that allows Price to show his rarely seen silly side, and then it's Basil Rathbone's turn to be creepy in "The Case of M. Valdemar," the tale of a mesmerist who decides to experiment with the unknown (bad idea). The movie is well paced, and makes good use of comedy without undercutting its chills. It's a rare treat to see this many masters of the genre working together and so clearly enjoying themselves. Don't miss it. --Ali Davis ... Read more

Reviews (19)

One of the Creepy Corman Classics
Directed by the venerable king of quality low-budget filmmaking, Roger Corman, and scripted by the prolific and popular SF and horror writer Richard Matheson, TALES OF TERROR is comprised of three vignettes based on stories by Edgar Allan Poe. The incomparable Vincent Price stars in all three, with Peter Lorre and Basil Rathbone each co-starring (separately, alas) in one of the others. Any knowledgeable horror fans should be nearly euphoric after reading the credentials behind this flick--and they won't be disappointed!

The first story is based on Poe's "Morella," but Corman and Matheson take great liberties to make the tale darker and scarier than the original. Unfortunately, the altered plot and its resolution (?) are a bit hard to follow, and it is therefore the weaker of the three plays.

The second--and best!--vignette, "The Black Cat" is actually a composite of Poe's story of the same name and his "The Cask of Amontillado." Peter Lorre hilariously hams it up as the cuckolded Montresor Herringbone, and Vincent Price is also a riot as Herringbone's nemesis, Fortunato. In spite of the humor, however, there are still plenty of chills when Lorre builds a wall around his "problems."

The final vignette, based on Poe's "The Facts in the Case of M. Valdemar," features the wonderful Basil Rathbone as the hypnotist who uses his powers to put the titular character, Valdemar (portrayed by Price), in a sort of limbo between life and death. Again, Corman and Matheson have taken liberties with the original story (e.g., making the hypnotist malevolent and self-serving), but this time it's to great effect, as Rathbone makes a delightfully devilish villain. The make-up job on Price in the final scene is pretty creepy, too, in spite of the film's low-budget effects. Good old-fashioned frights in this one.

The DVD edition of TALES OF TERROR is short on extras (trailer only)--it would've been great to have a Corman commentary on this one, which many of the other MGM releases of Corman's films DO have--but seeing this film in widescreen makes it well worth the reasonable cost. A worthy addition to any fan of classic horror.

Five Stars...
Being a fan of Vincent Price and Peter Lorre for that matter, this was just priceless (no pun intended). Aside from Peter Lorre not aging well at all, this just makes his "tale" all the more realistic.
The first tale is called Morella where Vincent Price blames his visiting daughter for the death of his wife. Yet there is a twist to the story regarding the daughter. Really well done.

The second tale is The Black Cat with Peter Lorre as the main character here in one of the best parts I've seen him play.
He puts pathetic, mean and humorous into one role and is hysterical doing the classic wine testing scene with Vincent Price. I was truly laughing out loud. The facial expressions that Price has in this one when acting with Lorre are worth this DVD alone.

The third and last tale is the scariest in my view. It is called the Case of M. Valdemar where Basil Rathbone plays a man who tries to gain control over a dying Vincent Price. This is a pretty scary one, and Rathbone completes his role nicely.

The ladies in these tales (Maggie Pierce, Joyce Jameson and Debra Paget) are all absolutely stunning. You just can't compare the beauty of that day with today.

Get this DVD, especially if you like Price and Lorre....not to mention Poe. I promise you it is something you will watch over and over again.

A wonderful horror anthology
Vincent Price leads an all-star cast in this horror film. Price appears in all three segments. In the first, he plays a man named "Locke" who blames the death of his wife on his daughter who's just came back after 26 years. This is great, verbal horror sort of like a throwback to "Night Gallery" or other dramatic anthology shows, where the horror is in the character's personality and not in the graphics. only the final minutes does the story turn into what AIP movie goers expect. The second story, as has been voted by mostly all on here, is the stand-out. Peter Lorre and Joyce Jameson team up with Vincent in a re-telling of "Cask of Amontillado" but re-titled "The Black Cat". If you've heard or read the story, you pretty much know what's going to happen...the wine tasting scene is hilarious. The final segment offers Basil Rathbone and Vincent although Rathbone has the most action as Price's character, Valdemar, is bed-ridden. Rathbone plays an evil mesmerist who mentally tortures Valdemar's wife and keeps Valdemar in suspended animation you could say in an effort to kill him and run off with the wife! The segment ends with a memorable scene that isn't really sick...but it's not for the squeamish, either! It's one of Rathbone's finest roles, aside from Sherlock Holmes and the hilarious nut-case character in "Comedy of Terrors". This film came along in 1962. At 85 minutes in length, it's short for a feature-length film...but the material and the first-rate acting by everyone make it seem even SHORTER!!

GARBAGE
Don't waste your time or money with this DVD. The best part of the DVD is probably the Trailers and most of those are Garbage also. My DVD came loose in the package and scratched, too bad it didn't do any damage to ruin the Movie. I couldn't wait until the Movie was over, I would have stopped it earlier, but wanted to see if any damage was done. You'll be counting the minutes and seconds after watching the first half or even earlier. The last story was stupid and horrible and should have been left off. Don't waste your money, spend it on the cheap $5-6 horror DVD's, because at least those can be somewhat entertaining.

Tales of tepid terror
What happens when you take great actors (Vincent Price, Peter Lorre, Basil Rathbone), a great writer (Richard Matheson), great source material (E.A. Poe) and a passable director (Roger Corman) and have them make a movie? Nothing very good, as it turns out.

This movie is actually three short movies linked by Price's narration. The first story deals with a young woman who returns to the home of her father, a recluse tormented by the death of his wife; how she died is not really clear, but she is nonetheless intent on revenge. The second story - the best of the three - is a take-off on the Cask of Amontillado with Lorre as a murderous drunk. The final story has Rathbone as a mesmerist who traps Price in a state between life and death.

All three stories have potential, the first and last for horror, and the middle one for humor. Unfortunately, none of the stories are executed well, a fault that seems to lie primarily with Corman. For fans of the Poe movies of the sixties (directed primarily by Corman), this might be worth watching, but for horror fans, it is best to look elsewhere. ... Read more

Amazon.com

Cartoonist Hal Foster's medieval hero, the Scandinavian Prince Valiant, comes to the screen in all his Dutch-bob-haircut glory in this 1954 film directed by Henry Hathaway (Kiss of Death). Robert Wagner plays the title role and does a bang-up job of it, convincingly portraying the heroic prince as he enters the court of King Arthur (Brian Aherne) in England and becomes (with some tutelage from Sir Gawain, played by Sterling Hayden) a Knight of the Round Table. Determined to restore his dethroned family to their proper seat back home, Valiant takes on the Black Knight (James Mason), who plans to do away with Arthur and then finish his misdeeds back in Scandia. Under such pressure, the prince, quite understandably, falls in love with Princess Aleta (Janet Leigh). Hathaway proves to be the perfect director for this material, as his fluid skill, moderate forcefulness, and adaptability to genre necessities keep the film from teetering too far in the direction of pulp--or self-seriousness. --Tom Keogh ... Read more

Reviews (13)

Grand old-fashioned Cinemascope entertainment
20th Century Fox Home Entertainment released this DVD on May 11, 2004. For anyone who's a fan of the Cinemascope era of the studio, this DVD is a must have. The movie itself is a silly contrivence of the time, based on a popular comic strip, as the illustrations during the main titles show, but it's all well-mounted with excellent photography and a Franz Waxman score that's a prime example of how a composer can really elevate the atmosphere and pace of a movie. The depiction of the era of the story is cardboard, with everyone and nearly everything looking too pretty and well-manicured -- no grubby surfs are anywhere to be seen, and even the comicbook Vikings are too clean -- but it's fun at its own level, even if today the movie's pace is a bit slow. My only complaint is that top-billed star James Mason isn't in more of it. The actor and his character are far more interesting to watch than the story's protagonist and the stiff, young Robert Wagner sporting a silly wig!

Fox has done a decent job of restoration on this 1954 Technicolor film. While the look is dated and the film stock is more grainy than we're used to today, the majority of it looks remarkably good. I suspect much of it was newly struck from the black and white color separation masters, but the frequent lap desolves have the second generation look of excessive grain and poorer color fidelity. There's one bad anomaly in the transfer at 24min.15sec., a 15 second shot that looks to be third generation. It's soft, grainy and blocked-up. Except for a couple rear projection shots elsewhere in the movie, nothing else in the transfer looks this bad. Otherwise this is a fine looking 16X9 anamorphic DVD of a vintage Cinemascope film.

Originally this movie was presented in some theatres in 1954 in 4-track magnetic stereo. Here, what survives of the stereo tracks is presented in Dolby Digital 2.0 (not 5.1 as stated in another review here). I'd have preferred if Fox had gone to the efforts of doing a proper 4.0 transfer, but the stereo still sounds good, with the directional dialogue of the era intact, though it can be a bit distracting when left and right speakers are too far from the screen (in theatres the speakers would of course be behind the screen). I found I had to raise the dB level of my rear surrounds to +10 in order to bring out the ambient sound of the film, mostly reserved to the music, but at 1:27min.21sec., when pig fat is used to light fires during the siege of the castle, the mono surround did come alive with fire noise and that was fun.

I'm only giving this DVD three stars because Fox didn't have enough faith (and they may be right) in this library title's marketability to include a commentary track by star Wagner, or a least some feature on the film's production history, and because the sound wasn't remixed for 4.0, but if you're a fan of such films I highly recommend this DVD.

A Viking prince joins the Knights of the Round Table
The Sunday comic strip character gets the CinemaScope treatment and is an entertaining film with plenty of marquee names to attract more than passing interest. The movie holds up quite well 50 years after its release and tells the story of a Viking prince who seeks to overthrow an imposter who has seized the throne of Scandia from his father and return it to King Aguar. Robert Wagner is perfect as the determined and resourceful "Val", as the smitten Aleta [Janet Leigh] calls him, Sterling Hayden is fine as Sir Gawain, the stern but dedicated mentor to the "Viking knave", and the excellent James Mason's suave, polished and calculating Sir Brack has dark, sinister shadings. The film has plenty of action and derring-do, romance, jousting matches at a tournament, palace intrigue, a large-scale battle at the castle in Scandia and an excellent fight with broadswords between Valiant and the Black Knight at the end of the movie. Excellent color photography, realistic sets, beautiful scenery and Franz Waxman's brooding score round out a first-rate film production.

Fun Americanized Arthuruan Adventure!
"Prince Valiant" is a fun, colorful adventure yarn from 1950's Hollywood. It isn't very faithful to the tone or style of Hal Foster's groundbreaking and beautiful comic strip but is far above the average swords'n'armor pic of the era.

Lacking the style of Curtiz's swashbucklers, the solid scripting of Thorpe's "Ivanhoe" or the visual panache of his stunning tribute to the Brandywine illustrators, "Knights of the Roundtable", "Prince Valiant" packs in lots of well executed, wide-screen action, terrific set pieces, wonderful costumes and attractive landscapes.

Done with a straight American accent (apart from James Mason's stage-villain turn as the traitorous Sir Brock) it often reminds one of George Lucas's "Star Wars".

I've shown this to alot of kids & they all love it. Presented in its original 2.35.1 aspect ratio from a really clean print, it looks remarkably good considering it's a B-picture from half a century ago.

Oh, it also stars the wonderful Donald Crisp ("National Velvet", "How Green Was My Valley"). Overall, a steal for the sell-through price. Enjoy!

I'm eleven again
As soon as I began this DVD, I found myself setting in the massive RKO Keith's theater in Downtown Dayton, Ohio. The reason I purchased the disk was for that reason. I am 100% satisfied for in that department.

The film score by Franz Waxman is perfection. It is dramatic and fun. As an adult, I wish that the transfer had been in Dolby 5.1.

The performances are appropriate for this film except for Mr. Mason who does no wrong.

I would like to add that the sword fight at the end of the film is of equal to the excitement found in the final duel in Scaramouche.

SWORDS AND SASHES - AND LOVE THAT HAIR CUT!
Director, Henry Hathaway's film version of cartoonist, Hal Foster's Scandinavian hero, "Prince Valiant" is one of those over-blown, wacky-tacky epics that is impossible to take seriously, but so much fun to watch. Robert Wagner is the rather effeminate looking title character who takes Camelot by storm. Determined to regain his own throne, Valiant uncovers the treachery of the Black Knight (James Mason, in a toss away role) and challenges him. Of course, there's also time for love with bombshell, Princess Aleta (Janet Leigh - who quite often found herself squeezed into a corset during her 1950s film tenure.) The film veers between comic book pulp and self-conscious seriousness, but Hathaway's direction ensures that neither become the vice to sink his epic. Brian Aherne (as a credible King Arthur)and Sterling Hayden (a not so credible, Sir Gawain) costar.
THE TRANSFER: Pretty good. Colors are generally bold, vibrant and well balanced. Flesh tones seem a bit pasty but that's in keeping with early Cinemascope/Eastman color dye transfers. Shadow, contrast and black levels are generally solid. Rear projection photography is more obvious than it should be. Pixelization and edge enhancement are present but do not terribly distract. The audio is 5.1, delivering a nice spread in the music tracks. Dialogue is not natural sounding, but again, this was usually to be expected for the vintage of the film.
EXTRAS: Sorry. Nothing but the film.
BOTTOM LINE: This prince is worth a second glance, but its not quite as glamorous as, say "Scaramouche" so much as it belongs as the bottom half of a double bill at your old-time drive in. ... Read more