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Scientists discover that a pair of giant crabs mutated by atomic tests is responsible for the disappearance of researchers on a remote island. The crabs, which assimilate the voices and intellects of their victims, slowly destroy the island as they thin out the rescue party until a do-or-die plan is hatched. This early effort by Roger Corman has been labeled as schlock due to its pulpy title and atrocious monster effects, but the script by Charles B. Griffith, while stretched thin by the usual low-budget constraints, is more intriguing and gently self-deprecating than a movie about monster crustaceans should be (Griffith also wrote the blackly comic scripts for A Bucket of Blood and Corman's original Little Shop of Horrors). The script's handling of the monsters is especially notable; the crabs' malevolent logic flies in the face of 1950s creature standards, which demanded that monsters be drooling and dumb. And Corman's fast-and-furious direction delivers a surprising number of shocks (most notably, the alarming "bus" when Little Shop alumnus Mel Welles's character meets his fate) as it barrels toward the film's slam-bang conclusion. Sharp-eyed character actor fans will spot among the cast Russell Johnson and Ed Nelson, years before their respective TV fame on Gilligan's Island and Peyton Place; longtime Corman bit player Beach Dickerson and screenwriter Griffith portray sailors. Made for $70,000, the film grossed approximately $1 million, making it Corman's most profitable picture of the period. Crab Monsters played theaters in 1957 on a double bill with Corman's equally satisfying Not of This Earth. --Paul Gaita ... Read more

Reviews (24)

Enjoy it with a bag of popcorn and some juju bees
Remember those hokey old "B" thrillers from the 50's? Remember your youth when it seemed like everyone had seen every 'monster' movie and loved to talk about it?

I remember having a friend over for the evening, watching our old B&W tv, and throwing a blanket over the monitor and ourselves -- we were in a drive-in *grin*. Shows like this were what we watched.

This film is a great 'time trip' back to those early days of monster movies when atom bomb testing (did we really detonate those things above ground?) was the cause for every mutation or monster loosed on humanity. As a young boy, it had scared me -- the voices in the night and an island which kept getting smaller gave me dreams. Of course, today's film crowd would hoot at it. But it's not the cinematography, special effects or even the story that makes this flick one worth adding to your library. It's the wistful return to our youth that gives it charm.

If you were born after 1970, you'll probably not have much in common with this film -- bypass it. However, if you grew up watching 'Chiller Theater' and 'Movie of the Week', this film will transport you back in time to the less complex world of our childhood.

Famous Monsters of Filmland fans will love it
I've wanted to get this movie on video for years, and finally got one thanks to Amazon. A glorious low-budget Roger Corman piece that has some surprisingly clever ideas in its script, and a bit of genuinely creepy atmosphere. Sure, the crab monsters themselves are a bit naff, but that's exaactly what you expect when you watch a movie like this. If you can't appreciate the finer points of a B-movie, you should obviously stay well away. But if you remember watching this one on television when you were a kid, like me, you may find yourself drawn to it the same way I was.

The print used for the video is not very good, unfortunately. Too much contrast, and it looks like it's more than one generation down from the master video copy. It makes it difficult to see what's happening at times. I don't know if other editions have better video quality. Although the edition I have is recorded at SP, it almost looks as if it were dubbed from an EP tape.

But you know what? I'm still happy I have the video. Any Saturday morning I can escape back to my childhood by watching a cheap B&W monster flick is a good one to me, and this is a perfect movie to fit the bill.

Good Monster Movie!
This movie was another Grade B gem from the master of these
types of films Roger Corman.A rescue party is sent to an island
to rescue a group of scientists.The rescue party discovers that earthquakes are decimating the island. They make a scarier discovery in the forms of giant crabs who have undergrown a
tremendous growth cycle because of atomic testing.One by one
these monster crabs kill and eat the members of the rescue team.
It is an all out battle for survival.Who will win? The monster
crabs or the rescue team members.This movie stays exciting until
the ending. This is a unique film that you will enjoy.

Crabs take over the island...
Another Roger Corman classic staring monsters from the deep. This time we have a research team investigating an island for effects of radiation. We all know that radiation in a black and white film creates monsters. This time is no exception.

In typical Corman fashion, the plot is established and the terror begins and at first we only see the handywork of the monsters and not the monsters themselves. As quakes wrack the island, causing large sections to disappear, and scientists disappear, we become aware that there are some nast giant crabs on the island. They have been eating the scientists and causing the island to sink. If that wasn't enough, they have absorbed the knowledge, and voices, of those they have eaten.

The film climaxes with the final battle between the survivors and the crabs on all that remains of the island (about 10 yards across).

This is the type of movie that makes B-movies so much fun. Monsters, suspense, bad effects, melodrama and sinking islands. Great film.

Pay no attention to the wheels and legs under the monsters
If you see only one talking crab monster movie in your life then this 1957 bad B-movie from director Roger Corman is the one to check out. The monsters are stupid looking, the dialog is laughable, but just keep in mind the film's tagline--"From the depths of the sea... a tidal wave of terror!"--and enjoy the film. The idea is that some scientist types are off to a Pacific island to study the effects of atomic radiation (they are bad; worse than you can imagine). What they discover are a pair of giant crabs who (wait until you hear this) ate the previous group of scientists, thereby absorbing their knowledge and allowing them to imitate the voices of their human victims so they can get more people to munch on. Just to make things fair the humans have guns and grenades, but they are trapped on the island when their plane explodes and bad weather stops their radios from working. Oh, and did I mention that the island is slowly sinking into the sea?

Of course the scientists are mostly menu items, which leaves it to our hero, Hank (Russell "The Professor" Johnson), who proudly declares "I'm no scientist, I'm a technician and a handy man." Well, those are the people who made this country and most monster movies great. The human voices from the crabs are rather lame, but the clicking sound they make with their pinchers has its moments. This is a nice example of an early Corman quick and dirty production, the second of nine films the director made that year: "Not of This Earth," "Naked Paradise," "Teenage Doll," "The Saga of the Viking Women and Their Voyage to the Waters of the Great Sea Serpent," "The Undead," "Sorority Girl," "Rock All Night," and "Carnival Rock." But none of those have fake looking talking crabs rolling around on wheels on a sinking island talking with the voices of the human beings they consumed. Look for screenwriter Charles B. Griffith as Tate and keep in mind that actors Beach Dickerson (Ron Fellows) and Ed Nelson (Ensign Quinlan) are doing double-duty as the operators of the crab monsters. "Attack of the Crab Monsters" definitely goes in the so bad it is good category. In fact, this one might become your textbook definition of bad Science Fiction B-Movie. It is a two-star movie but a four-star experience. ... Read more

Reviews (8)

Yes, you can get too cerebral in a Frankenstein movie
The title of "Frankenstein Unbound" is an allusion to the Greek tragedy "Prometheus Unbound" by Aeschylus, which makes sense since the subtitle of Mary Shelley's novel was "The Modern Prometheus." Now, in terms of understanding the novel "Frankenstein" the most important thing to understand is that Dr. Frankenstein's crime is not in creating the creature, but rather in abandoning it after it comes to life. "Frankenstein Unbound" takes the counter-position and does so in a rather convoluted manner.

The idea here is that the story of Frankenstein is both a real story and a novel. That story is based on the novel of the same name by Brian Aldiss with the screenplay by F.X. Feeney and director Roger Corman. John Hurt plays Dr. Joe Buchanan, a scientist in the year 2031 who is working on a new secret weapon for the government that dispatches the enemy by sending them into another time. Buchanan ends up being randomly dispatched by his machine and going back 200 years to find himself in the part of Shelley's novel where the younger brother of Dr. Victor Frankenstein (Raul Julia) has been killed by the creature (Nick Brimble); I know he is called the monster, but since I always consider the doctor to be the true monster so on principle I always call the creature "the creature." However, an innocent girl, Justine Moritz (Catherine Corman), is being blamed for the murder and the locals are going to execute her as a witch. Buchanan also runs into Mary Wollstoncraft Godwin (Bridget Fonda), the future Mrs. Shelley, and gets her to help in a futile effort to save the girl. Lord Byron (Jason Patric) and Percy Shelley (Michael Hutchence) show up as well, but there is little time to discuss 19th-century English poetry since the creature is out there ready to kill again. Then it dawns on Buchanan that the technology that sent him back to 1831 might be of some use in writing the wrongs (at which point every Frankenstein movie ever made will cease to exist).

The greatest sin of this 1990 film is that it almost works. The ideas are provocative enough and the cast is too good for "Frankenstein Unbound" to descend to the level of camp. Certainly Corman is trying to make something more pretentious than his nominal fare. But at the end of all this that a lot more is being unbound than Frankenstein pretty much blows your mind. We understand that Doctors Buchanan and Frankenstein are mirrors of each other, and that sooner or later the former will recognize himself in the latter. But the intentional use of anachronisms is glaring rather than creative, the creature's make up suggests Frankenstein needs to work on his sewing technique, and there are enough Cormanisms throughout this film to belie the fact that for the first time in his career he had a decent budget. This is not a Frankenstein film that anyone would want to randomly pick up. At the very least you need to have read the original novel to at least be able to appreciate what Corman (and Aldiss) were trying to accomplish here.

The terror never ends
From the get go, this movie is one of the worst I've seen so far. The fact that the actors have actual talent really makes me wish I liked it, but alas...the terrible special effects, poor plot design, and lousy period costumes and scenes really made me want to turn it off. You can't UNsee a movie, so lets just hope there are better options out there.

Thumbs up!
After 19 years of absence, legendary director Roger Corman returns to direct "Franenstein Unbound". This version is based on Brian Aldiss' novel. It's quite different from the other classic approaches. The idea is about a man (John Hurt) who lives in the future 2031 & moves back in time (19th Century) and meets an earlier scientist Frankenstein (Raul Julia). Frankenstein has created a Monster who has already killed his 6-year-old brother and is now threatening the entire city...

It's wonderful how they blended the life of Mary Shelley - the young woman who will later write the novel FRANKENSTEIN!

What was this load of ... aboot !
When i first saw this movie i thought it was some sort of sci-fi channel spoof, but i guess i was wrong it was meant to be a "serious" sci-fi film! To call this movie campy is an understatement, Frankenstein was'nt just unbound it was a whirling dervish! Jeez... roger corman used to make better ....
later guys.

I am Unbound...
Despite campy moments and the occasional silly special effect, Frankenstein Unbound surprisingly offers up an intriguing morality tale. While it is definatly a horror/sci-fi film, it really is (as the box claims) a monster movie for the thinking person.

When a future scientist (John Hurt) creates an invention that implodes space, he finds himself catapulted back to 19th century England. There he meets Mary Shelly, Percy Shelly, and, of course, Dr. Frankenstein and his monster.

The relationships between Frankenstein, Hurt's arrogant scientist, and their respective "monsters," explore the idea that once you create something you cannot un-create it. Even if you destroy your creation you can never make things the way they were before--It is unbound.

I agree with "THNEEBAN" about the monster--it is the best Frankenstein I have seen on film. I too found the ending surreal and very fitting. While not for all tastes, I am always surprised by how long this film--especially the ending--lingers in my mind. ... Read more

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When Kate "Ma" Barker (Shelley Winters) robs a bank with her four beloved sons, she's got a great opening line: "We're gonna play Simon Says, and this," she says, pointing to her Tommy gun, "is Simon." You gotta love the ol' broad's moxie, and you gotta love this Roger Corman classic for serving it up so shamelessly. Capitalizing on the impact of Bonnie and Clyde while adding the more perversely exploitative elements of Corman's drive-in fare, this Depression-era shoot-'em-up is prime viewing for its early appearance by Robert De Niro (making his fifth film) and Corman stalwarts like Don Stroud, but it's Winters's over-the-top portrayal of Ma Barker (very loosely based on fact) that gives the movie its rather unseemly edge. Alternately sharing her bed with each of her sons (as if they were teddy bears made for her incestuous pleasure), and twisting morality to suit the needs of her homicidal brood, this gun-toting matriarch is a deviously amusing detour on Winters's weight-gaining road to The Poseidon Adventure.

The movie gains character from its rural Arkansas locations, but the redneck flavor is entirely theatrical, and while De Niro learns to shine for the camera, his performance as glue-sniffing, dope-shooting Lloyd Barker shows hints of future stardom. Corman gets good work from the entire cast, in fact, even if his formula calls for sex, violence, or vice every 10 minutes. And while it would be a mistake to elevate Bloody Mama above its trashy aspirations, it certainly earns its place among such '70s gangster fodder as Big Bad Mama and Boxcar Bertha. Made at a time when movies were enjoying their liberation from the confines of good taste, Bloody Mama is an enjoyable wallow in bad taste. --Jeff Shannon ... Read more

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Young Robert DeNiro gives great performance
Not only is this movie highly entertaining and well acted, but it features a teenage Robert DeNiro as the glue sniffing son of Shelly Winters. Great performances from all the cast. The story is exciting and succeeds in portraying an engaging psychological profile of this very bizarre family. ... Read more

Reviews (10)

Obvious Inaccuracies Bother Me
I found the movie enjoyable even though Jason Robards hardly resembles Al Capone. The movie has Al Capone slitting the throat of rival Joe Aiello on a train as he attempted to leave Chicago before the Massacre was even planned. However, Joe Aiello died from a hail of bullets on October 23, 1930, as he left an apartment building, more than a year after the Massacre took place. This would have been an easy fact to substantiate, yet the film contains this unnecessary error. The movie also has Albert Anselmi and John Scalise murdered by Capone with a baseball bat in "Capone's mansion" following a banquet honoring them. The killings actually took place in a Hammond, Indiana, road house. In addition, Joe Guinta was a third one clubbed to death at that time. Finally the movie includes Boris Chapman and Adolph Moeller as two who took part in the St. Valentine's Day Massacre. That may or may not be, but no mention is made of Fred "Killer" Burke who it is widely believed to be one who definitely took part in the killings. The movie was very entertaining and worthwhile, but the inaccuracies that I have mentioned could certainly have been easily checked out.

Nice!
This is a classic. If you haven't yet seen it, I strongly advise that you should. It's a well known formula - bad guys fighting it out for control of a city. A few mistakes were made with the casting (whose idea was it to have Jason Robards playing Al Capone?) but nonetheless, it is a great film. That is, for a Roger Corman film.

one of the best gangster flicks ever
this movie with a few select scenes inaccurrate was not meant
to satisfy a few egg heads with true incidents as they happen.
we get the basic storey of 2 rival gangs trying to take over the rackets in chicago and the storey and back ground info to keep the viewer interested. one of the down points is that the real life gangsters, were in fact younger men between 25 and 35,
jason robards, may been pushing 50 when he was playing al capone in his 20's. john agar a noted ww2 vet who married
shirley temple plays dion obanion, who is portrayed as a mid 50's
business man instead of a manin his early 30's, the same with
earl hymie weiss, another guy in his mid 50's playing a man in his mid 30's, the gusenburg brother's and jack mcgurn were portrayed in the right age group, but they were older than al capone, as portrayed by jason robards.
well anyway i like the movie, plenty of background info
and a great storey.

A "Massacre" of the facts, but a fun one
"The St. Valentine's Day Massacre" is the kind of film that needs to be accepted on its own terms. To expect by-the-book authenticity, or post-1970 graphic violence, or extensive location shooting, is asking far too much. There's an early scene in which George Segal, as one of the murderous Guesenberg brothers, intimidates a speakeasy owner into buying beer supplied by Bugs Moran. His tactics are similar to those employed by James Cagney in "Public Enemy," and it is this little homage that should tell viewers that the film is going to make a mere pretense of accuracy - and that this is just fine. "Massacre" is a thoroughly entertaining film that never tries to be anything more or less than that.

Fred Steiner's jangling, dissonant score deserves a mention. It has a Charleston-like rhythm, dominated by a piano. It's an oddly effective thing, heard to best effect over the end title.

Among the cast, no one turns in what could be called a brilliant performance, but Ralph Meeker probably comes off best as Bugs Moran, particularly as he utters the crime boss' most famous quote, near the end. Jean Hale definitely got my attention as Segal's girlfriend, and Clint Richie is appropriately sly as Machine Gun Jack McGurn, who masterminded the title killings.

St Valentine's Day Massacre
This is one of the best gangster films ever, It is a gritty, in your face story of a true life event. True, there are some inaccuracies, what true life film doesn't have them, As far as I am concerned, they are insignificant and they don't take away from the film, the main context of the story is there, even with the inaccuracies it is still a top film. Shot documentary style, it is a film about the events leading up to the massacre. Jason Robards, though a fine actor, wouldn't have been my choice for portraying Al Capone, and is acting is a little hammie, George Segal did a fair job as Pete Gusenberg, after all, these were people who thought they could get away with anything, and most of the time, did. But this is not a film about any one person, it is a film about an event that still fasinates people today. I believe that the memory of the St. Valentines Day Massacre will live on forever. ... Read more

Reviews (37)

Lavish Gothic horror`
This was the first film that Roger Corman made, when he hit upon the idea of adapting the Edgar Allen Poe classics, and it's the best one. Apparently, it was a huge success when first released, and it still retains much of it's power. Vincent Price plays the tormented Roderick Usher, last in the line of a cursed family living in a crumbling mansion. An outsider comes with the intention of marrying his sister, and soon the horrible truth is revealed. Much of the film looks beautiful, colours are deep and lavish, and the set of the house is suitably creepy, with ghoulish portraits of all the hideous Usher ancestors lining the walls. The cast is small, and Price chews his way through his part as ever, with many flowery speeches and gestures, but the film still delivers, especially in the spectacular fiery climax. Obviously, they aren't making them like this any more, and it all looks a bit dated, but as an example of 60's costume horror, it looks great.

classic VINCENT PRICE at its best
Vincent price is the "Lord of Horror" according to me. The Fall of the House of Usher is a classic horror movie that is very enjoyable. A great story, just great.

The story is based on an Edgar Alan Poe story. Roger Corman, the director, was the first to bring Poe poem to the silver screen; and here it is!

The story pulls you into it and you get a real feeling for the characters. The acting is what it is for that time period; enough said. This is a classic horror film! GET IT AND LOVE IT

"I heard her first feeble movements in the coffin..."
Director Roger Corman and AIP had great success relating the tales of Edgar Allan Poe to the screen, and it all started here with The Fall of the House of Usher (1960). While not always exactly faithful to the source material (how many are?), the films sure are fun to watch.

House of Usher stars Vincent Price as Roderick Usher, Myrna Fahey (who once dated Joe DiMaggio and received a death threat because a deranged fan couldn't stand to see DiMaggio with anyone other than Marilyn Monroe) as his sister Madeline Usher, Mark Damon as her fiancé Philip Winthrop, and Harry Ellerbe as Bristol, the butler. Scripted by famed horror/fantasy/sci-fi writer Richard Matheson, who also worked on the later Corman/Poe/AIP films like Pit and the Pendulum (1961), Tales of Terror (1962), and The Raven (1963), The Fall of the House of Usher marked new ground for AIP and Corman. Previously, the studio was content in putting out two black and white films at the same time for minimal cost, Corman convinced the studio heads to take the money to make two of those films and let him use it to make one film in color, and the result, this film, turned out to be a huge box office draw in 1960.

Anyway, the film starts off with Philip riding up to a massive, dark, and as we find out later, crumbly house of Usher. The grounds around the house show no signs of life, but only death and decay. The house actually looks a lot like the creepy house you always see that the beginning of those old Scooby Doo cartoons. Seems he's come to see about his fiancée Madeline, as they had met in Boston where they both lived, and she has since returned home. This is when we meet Roderick Usher, a handsome, yet odd sort of fellow, who we learn has a painfully acute sensitivity of all the senses, preferring the dimmest of light, the blandest of food, the softest of clothing, the mildest of odor, and the quietest of sounds. We also learn, from Roderick, that Madeline is sick, and no one is allowed to see her. Philip, not understanding what's going on, refuses to leave until he can see Madeline, and Roderick finally acquiesces. She seems all right, but later we learn what the sickness is...one, not so much of body, but of a madness supposedly passed down through the Usher lineage. You see, the house and the grounds were once fertile, and full of life, but evil overtook the Usher line, displayed in the many crimes perpetrated by the various ancestors, poisoning the family and the estate, or so says Roderick. The presence of malignance is so oppressive, it's causing the centuries old house to crumble under its' own weight. I personally think it's due to lack of upkeep, but what do I know? Anyway, Philip pushes to take Madeline away from the house, but Roderick is intent on keeping her there until such time as she and he pass, effectively ending the Usher family line. His fear is that she should leave and procreate, extending the evil that has survived so long. The question of evil and its' ability to be passed down is brought up, along with the idea of evil being not so much limited to an abstract idea but a real, almost tangible quality that infects and destroys people and objects. Where does evil live? In the mind? The soul? Can it be transferred? Can a place, with a history of evil acts performed within, actually become so seeped in evil that it becomes evil itself?

Well, soon Madeline suffers a heart attack and passes, due to all the excitement that Philip has brought, so says Roderick. Madeline is put into the family crypt in the basement (that's convenient), but is she really dead? Maybe not...seems there's a history of narcolepsy, a disorder characterized by sudden and uncontrollable, though often brief, attacks of deep sleep, sometimes accompanied by paralysis and hallucinations and would sometimes make the sufferer to appear dead, in the Usher family. Did Madeline suffer from such a malady? If so, then I'd hate to be her when she wakes....

The film moves along nicely, except for maybe the dream sequence. Corman always seemed to like throwing in crazy dream sequences in his Poe productions, and sometimes they helped add to the film, sometimes they sort of ground the proceedings to a halt, in my opinion. Never being really a big fan of the cinematic dream sequence anyway, this one, at least, was short. Price and his costars all do a wonderful job, and I especially liked Fahey near the end. Price seems to envelope the role of Roderick Usher, fitting into character perfectly. If I ever read the actual Poe story, I know I'll always have a picture in my mind of Price as Roderick. What an interesting visage she provides...very scary, even for the hardened horror fan. The music, by the accomplished composer Les Baxter, really complements the visuals in creepy fashion, filling out the overall effect provided by really excellent sets.

The wide screen print here looks really good, but there are occasions where speckling and print damage were noticeable. It's very slight, and did little to lessen my enjoyment of the film. Special features include a theatrical trailer for the film, and a separate commentary track by Corman himself. I have to say, I think this is not only one of the best Corman/Poe films of the eight that were made, but one of Corman's best films period.

Cookieman108

THE FALL OF ACTING COMPARED TO NOW!!!!
The story and plot was great!!! It had great storyline and the actual story was marvelous. There were some bad parts to this movie even so. I think the acting was just ok, partly because it was made over 60 years ago. Some of the special effects and props looked so fake. The best part to this movie was the part when Madeline goes mad and comes out of her coffin. SHe has bloody hands and drips a trail of blood up to her brother's bedroom. I like all teh blood on the doorknob. The music also added to the suspense. All in all it was great!!

TAINTED BLOOD......
The first of Roger Corman's Poe cycle films is probably the most simple. A cast of four and a spooky old house are the characters. The house being a malignant symbol of the evil and depravity lived in it by the Usher family. Roderick Usher (Vincent Price) and his sister Madeline (Myrna Fahey) are the sole surviving members attended to by the long suffering family servant Bristol (Harry Ellerbe). Roderick, pale, clean shaven and with white hair, is hypersensitive to light, sound, touch and taste. He is convinced that he and Madeline suffer the curse of the Ushers---incipient madness. When Madeline's fiance Philip (Mark Damon) comes for her to marry her, Roderick forbids Madeline to leave. He doesn't want their tainted blood to continue. Philip refuses to believe Roderick's morbid stories and refuses to leave without Madeline. But he notices that the house is crumbling, cracking and shaking as if it wants to fall apart---as if the house itself is tired of bearing the curse. Then Madeline suffers a cataleptic stroke and falls into a coma, causing Roderick to declare her dead and bury her in the family crypt. But things are not as they seem and soon Madeline's screams can be heard throughout the house. Then things REALLY hum. "House of Usher" is low budget but Corman does wonders with minimilism. The use of red, normally a vibrant color, is used here to depict morbidity and death. Red candles, red furniture upholstery, Madeline's blood red dinner gown, Roderick's jackets and Madeline's own blood---all vividly captured amid the dark gloom of the house. Price gives another of his patented eccentric performances but who else could deliver lines based on Poe so well? Richard Matheson's script is efficient and literate leaving little room for open ends. Damon and Fahey are well suited as the lovers if a little inexperienced next to Price. And Les Baxter's score is moody and spooky. For 80 minutes, this is a pretty tight little film. Certainly one of the better horror films ever made. If you're a fan of the Price/Corman/Poe films this is the first and a collector's item. ... 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 (15)

Pure Kitsch
It's nice to see that Peter Fonda has redeemed himself in recent years ("Ulee's Gold", "The Limey", "The Passion of Ayn Rand" et al.), and even has a couple of Golden Globes and an Oscar Nomination to show for it. But he certainly wouldn't want to be remembered for this awful piece of drive-in drivel (although "Easy Rider" will probably be marked on his gravestone). I gave it three stars for kitsch value. Otherwise, it doesn't deserve any. This movie is bad, but in a very amusing way.

"The Wild Angels" is "Easy Rider" written by Fred Durst. The plot is pretty weak, juvenile, and has plenty of holes in it. The actions the characters make echo the song "Break Stuff"; at the beginning of the film, when Loser's (Bruce Dern) Boss ask Heavenly Blues (Fonda)if he's "one of those dumb angels", Blues replies snidely and restrains him needlessly. And the dialogue is mediocre and poorly executed.

If you're looking for compelling drama, look elsewhere. If you're looking to amuse yourself, then by all means take the plunge!

The original biker movie
I'm not a movie critic, I'm a motorcyclist. I have this film on video and watch it fairly often, along with Beyond The Law, Hells Angels on Wheels and Angels Hard As They Come (the most underrated of biker flicks). Fonda, Dern, Ladd, Buck Taylor and Norman Alden are great. Nancy Sinatra was terrible and totally miscast, if she' repudiating this movie it's due to her terrible acting. I can't see Micheal J. Pollard as a biker (but he was wonderful in Little Fauss and Big Halsy). The star of this movie is Fonda's chopper, to me, it's more beautiful, and subltly understated, than that ultimate movie chopper in Easy Rider, the Captain America Bike. This movie is really about Heavenly Blue's changing values as his friend Loner dies. Girlfriend Sinatra realizes the change that's come over him, "it's like a piece of you went with him". He reveiws his life and sees it empty, without purpose without his closest compadre The Loser, as in the final line "there's no where to go" as he stays to bury his friend while others flee The Man. They go on to continue the life of carousing and hell raising while Blues follows through on a duty to a friend, and to me symbolically buries himself, his up-to-then life, as well as his only friend.

Not just sexist, but racist.....
as exhibited by the comments and attacks on a group of Mexicans. Fonda is about as animated as a cigar-store Indian, Nancy Sinatra is woefully miscast, Diane Ladd is over the top and predictable. In fact, the best performance may be delivered by Bruce Dern.....as a corpse.

A Must Have for Any Biker Video Collection
"We want to be free to do what we want to do without being hassled by the man! And we want to get loaded!" "YEAH!"

What more can I possibly add?

Oh yeah. Theme music by Davie Allan.

People think Easy Rider was good but this movie defined the bikesploitation genre.

Disturbing, yet interesting
Oddly, though the characters in this movie are all dispicable individuals, in some ways, I could still find myself sympathizing with their rebellion against "the man". This movie definitely has more of a '70's feel to it than the '60's, and holds up well today.

I will admit, I did find the use of the swastikas and iron crosses to be offensive. But, I think such individuals in the '60's used them more to shock those who tried to control them, than as a support of what they truly represented...and to have realism, they had to be included.

One technical aspect to the movie...and two to the DVD on which I need to comment:

1. Did the movie always end so abruptly, with no closing credits or even a "The End" caption? Or is this poor editing?

As for the DVD...

2. The print from which this movie was taken was in terrible condition. At some points the picture is beautiful. But others show dirt, hair, and sprocket marks. Worst of all is a tear in the film, patched with tape, which is readily visible. This occurs in the scene in which Sinatra has just entered the door of the hospital, and the camera is panning over to the nurse's station.

3. There also seem to be some areas of the film which are out of focus. I primarily noticed this when Nancy and Peter are talking alone on the boat before leaving for the funeral.

All in all, this picture can be viewed more as a snapshot of an era than as pure entertainment. If taken as such, it proves somewhat interesting. ... Read more

Reviews (7)

The Flying Circus of Roger Corman
I saw this when it first arrived in the movies in 1971. It was generally ignored back then by audiences tired of the real war in Vietnam but time has marched on and the objections are not as sharp as they once were. It is beautifully filmed and most likely viewed as a "man's picture", with no roles for women other than background props .The musical score by Hugo Friedhofer is excellent and is available on CD if you know where to look. (However, not as great as Goldsmith's "Blue Max" music, which was probably one of the best tunes ever applied to a WW 1 air picture). Now many have spoken of historical problems but it should be said that good situations develop in this work. One of the best is when Don Stroud as Brown walks into the mess and drinks the sour wine that had been left on the table in protest due to his disagreement with toasting the Baron with the chivalry conscious Squadron Commander and Brown's claim that he would drink it when the next pilot is "blown to pieces" by the Baron. The Commander's friend, who had won the Victoria cross was that victim and it makes for effective storyline as Brown convinces the rest of the squadron to abandon the idea of chivalry in war. We also get to see Goering collecting Picasso paintings, a humorous interpretation by the Baron's squadron in painting their planes to obscure their design that led to the famous "Flying Circus" and Henry Fokker introduce the Baron to the Fokker Triplane like a typical car salesman with a sexy woman running her hands along the machine as if we are watching a commercial. Another is when the Allies under Brown attack the German airfield and think they finally have the upper hand but as luck would have it a whole truckload of spare parts arrive for the Baron just after the raid and they put the planes back together in a matter of hours and counterattack the British airfield! We see Von Richthofen as the aristocrat he really was, a young man who transfers hunting in peacetime on his massive estate to "hunting in the air". Also, the fatal flaw of that generation, intent on self destruction due to inability to deal with class change and a willingness to join his former comrades in death. It is a "romanticized" look at the World War 1 Air war. As usual, the allied planes are all SE 5's which makes for boring shots of planes going down continually and the Baron was probably ironically killed by a bullet fired from a trench soldier when he flew too close to the ground in avoiding Brown's pursuit. It should be transferred to DVD and polished so that people can appreciate the scenery that displays the beauty of nature during war to soldier's eyes that was Corman's probable intent.

Breathtaking photography makes up for inaccuracies
I remember seeing this film when it first came out and after 32 years finally got around to buying it. Yes it is historically inaccurate in many aspects, as other reviewers have pointed out. But for me it was the best of the lot of WW-I air combat films because it generated the feeling of what aviation must have been like in those early days.

The patchwork fields separated by hedgerows far below made a perfect backdrop for the aerial shots. The everyday ground activities at the aerodromes were also depicted convincingly, though there were a few inaccuracies here too. But the "feel" of the time and place was captured so wonderfully I just sat back and took it in, never mind the glitches.

In summary, I watched and enjoyed the film not to learn history, but to be transported back to the era for a while. I also enjoyed the even more inaccurate "Bridge Over the River Quai." So sue Me!

Good movie on Richthofen-with historical errors
This is a good movie on Rittmeister Freiherr von Richthofen, although with a number of historical errors. Nevertheless, watching it in the dubbed German version helped compensate for the errors-though not completely. About the movie: the impulsive young flier taken under the wings of one of originators of aerial combat tactics, Oswald Boelcke is shown correctly. One of the immediate errors that became apparent was what was Goering doing on Richthofen's staffel so early in the war? Some of the other
historical figures, Werner Voss[Richthofen's great rival within the Luftstreitkrafte], Boehme[the one who accidently
collided with Boelcke's fighter and sent him to his death, Fritz Falkenhayn [Richthofen's supporter who pushed his friend's cause at the Air Ministry and with influential people in the Imperial High Command], could have either been added or developed further.
The end was completely off, Richthofen was hit by a stray bullet from groundfire, not by Brown who apparently 'outmanuevers'him in the movie. Despite of all this, as one of the few movies on the premiere ace of the Imperial Air Service and the Great War, I could not give it less then the top number.

Highly inaccurate accounts of the Red Baron
Not for those who like accuracy, The Baron didn't collide with Boelke and cause his death, Brown was not flying a Se5, but a Sopwith Camel when he shot down the Baron. Did the d7 come before the Dr1? don't think so. The Baron sustained his head wound from an headon pass, not from Behind. And Brown snuck up from behind to kill the Baron, not from outmanuvuering him like in the movie, I could go on but....if you don't care bout such things, it was a three... S!

WildBillGT of the Flight sim Squad.. The Gallant Talons!!!!

Truth or Legend?
Are you looking for perfect Hollywood entertainment with breathtaking stunts in the air and handsome actors? Go for this video straight away!!! Would you rather know more about the life and times of Manfred von Richthofen and what really happened the day he died? Are you more interested in well- researched movies and historical correctness? Then leave it. ... Read more

Reviews (12)

Get a real buzz on.
Quickie-flick exploitation master Roger Corman produced and directed this epic example of schlock cinema. A forty-something cosmetics magnate takes experimental injections derived from royal wasp jelly to look twenty years younger. Impatient to achieve the desired results, she overdoses on the stuff. The massive jolt of wasp juice causes sporadic "insect girl" transformations that lead to murder. We doubt that Corman intended this little sci-fi thriller to be camp entertainment, but that perspective works best in viewing this film. The fright "makeup" consists of a bug-eyed head mask complete with antennae and goofy looking mittens with claws (or is it stingers?) that leave the human wrists conspicuously visible. Regardless of logic, the apparently wingless creature makes an insect wing buzzing sound, raised by several decibels. The acting, dialogue, and production values are typically low budget. The comic relief provided by Maureen "The Princess of Flatbush" is worth the purchase price alone. Die-hard fans of cheesy movies will recognize the slow-witted janitor as Yvette Vickers' slow-witted husband in "Attack of the Giant Leeches." This guy has very bad luck with women in both films. Collectors need this one, regardless. To others out there: get a buzz on. ;-)

A beautiful woman by day - a lusting queen wasp by night.
From Roger Corman, one of the most prolific director/producers in Hollywood, comes The Wasp Woman (1960), a film that was most probably influenced by 1958's The Fly, with Vincent Price. Hey, if Hollywood can turn a man into a fly, why not turn a woman into a wasp? Well, no one ever accused Corman of originality.

The movie opens up with a scientist getting fired from a company the produces honey as he is doing some strange experimentation. Seems the Scientist, Eric Zinthrop, played by Michael Mark, has been exploring the notion of using royal jelly to create a rejuvenation formula. After getting fired, Zinthrop contacts Janice Starlin, played by Susan Cabot, the head of Starlin Cosmetics. Starlin Cosmetics is losing sales due to the fact that Ms. Starlin was the only spokesperson for the cosmetics, and now that she is aging, sales are falling off.

After talking to Zinthrop and seeing his success on turning back time with various animals, she hires him on, sets him up in a lab, and they begin treatments on her. The process appears to be working, but Ms. Starlin becomes impatient, wanting more results quicker, so she secretly starts injecting herself with the formula. What happens? Take a guess...I mean, the movie is titled The Wasp Woman.

The acting wasn't bad, but we didn't even see the wasp woman until almost an hour into this rather talky feature. There are some bloody deaths, and the make up to create the wasp woman isn't all that bad, but the movie would have benefited from not making us wait so long in seeing the creature, filling up the 73 minute run time with nonsensical plot threads that don't develop.

Alpha Video provides an exceptionally poor print here, as the film has all kinds of blemishes and even drops out briefly at a couple of points. The picture appears washed out, and the audio is pretty poor. No special features here in this barebones release, not even a trailer, but for under ten bucks I wasn't expecting much. Now that I've experienced the quality of Alpha Video, I doubt I will buy any more of their releases. I would recommend someone interested in owning this movie on DVD to do a little research, as I have since found out a number of companies have released a version, some even on double bills with other movies. I will say the cover art on the Alpha Video release looks enticing, but, as with most things in life, you get what you pay for here.

Cookieman108

CAMPY HORROR AT IT'S BEST!!!
THE WASP WOMAN, ORIGINALLY RELEASED IN 1959, IS A CLASSIC CAMP HORROR FILM.
IT'S PLOT AND ACTING WERE VERY GOOD.
THE SPECIAL EFFECTS WERE JUST LIKE MANY OTHER FILMS OF IT'S TIME, FOR EXAMPLE, THE FLY, WITH VINCENT PRICE.
VERY TAME BY TODAY'S STANDARDS, BUT FOR SOME GOOD CLASSIC HORROR ENTERTAINMENT, CHECK THIS ONE OUT!!
IT'S VERY GOOD!!

The Leech Woman
"The Leech Woman" with Colleen Gray (also Grant Williams and Gloria Talbot) was the film you saw. In it she plays a woman with a wish to grow younger and finds the answer in the necks of young men! She uses a ring with a sharp point to puncture (I think) the spinal cord and drink the fluid. In "The Wasp Woman" Susan Cabot finds the answer to youth by injecting wasp enzymes into her blood stream thus making her beautiful by day and not so beautiful by night! "The Wasp Woman" was released in 1959.

I was too young to see "The Leech Woman" in 1959/'60 at the theater but I saw it on tv in the late 60s or early 70s, and I loved it! I saw "The Wasp Woman," in the late '60s, on TV as well.

prepubescent horror
Ok, slipstream back almost a half century ago. A coupla boys (me an Donnie) each plunk down our quarters at the Aggieville Campus Theater and enter into the forbidden world of cinema. First stop: the concession stand where I choose the usual Mike & Ike jellys (it was a game to see what flavor you put in your mouth by the shape but really they mostly tasted the same). Donnie (died in 1969 from leukimia) always chose malted milk balls because he knew I hated them. Next stop: the drinking fountains, one for adults and one for kids. I wonder how many chipped teeth was the result of us kids trying to jump up and to hang on just to look grown up to our peers, not to mention getting a good face washing. Third stop: right next to the drinking fountains was an Art Deco statue of a naked lady. Full sized as I recall, black granite carved. I knew I wanted it but not sure why, perhaps it was her smile when she looked at me. Last stop: Wasp Woman, the movie. I was young and the memory fades into the unsure since. But if this "Wasp Woman" movie is about a woman killing people with a special ring and then drinking their blood to achieve youth let me tell you it scared the beejeesus out of me. This movie and "Invaders From Mars" was the reason I was a bedwetter. ... 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

Reviews (6)

wait a minute...
actually the image above is of the 1962 Roger Corman version with Vincent Price in the lead role

No Cariacatures Here
Laurence Olivier's Richard III is fun to watch, but his Duke of Glouchester is warped inside and out: ugly and humpbacked, strutting about. Basil Rathbone's Richard is very different from that.

True, he has a humpback too--in fact, his armor has a bump in it to allow for the hump--but he carries himself gracefully, as Rathbone always does. He's just as evil, though. Whereas Olivier has a number of asides to the audience through which we learn of his machination's purposes, Rathbone's got a little closet with the succession to the throne literally spelled out in dolls. Doll #1 is brother Edward played by Ian Hunter, who enjoys every trick Richard plays on everyone else, and condones all the murdering going on. It's clear he hasn't the imagination to realize that ultimately Richard will target dolls #4 and 5, Edward's own two sons, the famous Little Princes who vanished in the Tower of London. Doll #2 is the semi-senile usurped king Henry VI, played by Miles Mander, veteran of many a Shirley Temple and Sherlock Holmes movie. He gets dispatched at prayer by Richard's loyal executioner friend Mort, lovingly brought to us by clubfooted Boris Karloff. He pledges himself to Richard saying, "You're more than a prince, more than a king...You're a god to me!" Wow, how's that for hero worship? Doll #3 is the son of that usurped king, who's biggest transgression is having married the woman Richard loved. So much for him, eventually. My personal favorite is Doll #6, Richard's other brother Clarence, Vincent Price in a very early role. These two have never gotten along, so we shouldn't be surprised when a drinking bout between the brothers takes a particularly nasty turn for poor Clarence. Every time there's a victim, off the corresponding doll goes into the fireplace while the remaining dolls move up, the Richard Doll lagging behind, but making steady progress. It's a neat contrivance of the screenwriters, although Rathbone doesn't really demonstrate a need for such psychodrama.

The movie does have a major drawback, and that's the white-hat hero whom Mort puts to every torture device imaginable, for a reason I've forgotten. This guy's not so good looking (actually looks somewhat pinched faced, like a Zachary Scott type), and his character is annoying. I suppose the filmmakers felt there had to be a good character to counterbalance all the other stuff that was going on, but frankly, the other stuff is true and a lot more interesting than this fake good guy.

"Tower of London" is a great treat because it provides us another opportunity to see the always-dashing Basil Rathbone. What I found remarkable during this outing was the way that all these nefarious doings seemed perfectly justified the way that Basil was comporting himself. Ian Hunter has a lot more to do than I've ever seen in any other movie role he had, and I'm sorry for his usual underutilization; actually, he's pretty good. And Vincent? He brings much fun to his role as the pampered sissyboy brother who plays right into Basil's hands.

Chase up some courage and watch "Tower of London" to see a wonderful old movie.

Shakespeare's "Richard III" stripped down to a Horror show
"The Tower of a London" is an interesting horror film because it involves the same characters as Shakespeare's play "Richard III." Boris Karloff plays Mord, the executioner at the Tower and the ally of Richard, Duke of Gloucester (Basil Rathbone) in his quest for the crown. It is Mord who kills the aging King Henry VI and the young princes. Like "Richard III," the film ends with the Battle of Bosworth, but the chief difference between the two works are the Grand Guignol murders by Mord, such as when Richard and his executioner drown the Duke of Clarence (Vincent Price) in a vast butt of malmsey. Karloff might get to do more killing in this 1939 film directed by Rowland V. Lee, but this is very much Basil Rathbone's film and his Richard does not suffer much in comparison to Olivier's celebrated performance on film. Actually, they make a fascinating double-bill, but be sure to save "The Tower of London" for the second feature.

Basil Rathbone is the man!
you cannot compare this with any of the other universal horror movies that came around the same time. This is not a horror movie but a historical drama depicting the unscrupulous rise to power of Richard the III, played in the most evil and backstabbing way by Basil Rathbone( most excellent actor of Sherlock Holmes fame and Son of Frankenstein). The plot and script are so much more intricate and intelligent than the other universal horrors, but no wonder it's not a horror movie. Some say this is a bland role for Karloff, but he plays an executioner that is the subserviant friend of Richard the III, of course he is going to come across as a brute, but what else would you expect of an executioner from the middle ages. Vincent Price(in an early role in his career) is excellent as a snivelling coward, that is in the way of Richards rise to power. Overall an excellent movie, one of Universal's best from the time period of the classic monsters.

Mistaken version
BEWARE ! This is NOT the version with Basil Rathbone, Boris Karloff & Vincent Price. This is a newer remake with Vincent Price only. Note the film dates. The description does NOT match this movie. The earlier one is a masterpiece, & although you may like this one, it is not the what the description says. ... Read more

Book Description

One of the most influential and innovative recording artists of the past three decades, Lou Reed has always offered a shrewd view of life in the big city in all its colors. It is no surprise, then, that he considers Edgar Allan Poe a spiritual forefather. In The Raven, Reed immerses himself in Poe's enigmatic world and sets out to reimagine his work to mesmerizing effect. In 2001 Lou Reed, legendary theater director Robert Wilson, and an all-star cast presented the musical POEtry at the Brooklyn Academy of Music. Reed's subsequent studio adaptation, The Raven, has been hailed as one of his more daring and challenging albums. Here, accompanied by photographs by the acclaimed artist and director Julian Schnabel, is the definitive text of the CD release. The Raven includes Reed's distinctive takes on Poe's most celebrated works, as well as song lyrics written for the musical. The Raven is a fascinating meeting between a dark chronicler of the twentieth century and his nineteenth-century counterpart; the work on one iconoclastic genius offering a haunting exploration of another. ... Read more

Reviews (28)

"I'm always fascinated by your utter lack of scruples."
Roger Corman directed many films based on works by Edgar Allan Poe. These films include: "Masque of the Red Death", "The Haunted Palace", "Tales of Terror", "The Pit and the Pendulum", "The Conqueror Worm", "The Tomb of Ligeia", & "The Fall of the House of Usher." "The Raven" is based on a poem from Poe. As the film begins, sorcerer, Erasmus Craven (Vincent Price) is amusing himself with magic when he receives a strange visitor--a pesky raven. The raven, it turns out, is fellow magician, Dr. Bedlo (Peter Lorre). Bedlo has been stripped of his magical tools and turned into a raven by the evil Dr Scarabus (Boris Karloff). Craven turns Bedlo back into his human form and then learns that his wife--Lenore--who has supposedly been dead for two years--is alive and well and living with Dr Scarabus.

Craven immediately sets off for Scarabus's castle to discover the truth about Lenore. Bedlo's son and Craven's daughter are in tow.

The displays of magic are lots of fun to watch. Everything is campy and there's nothing very serious or frightening here--although young children may be impressed. The combination of Vincent Price, Peter Lorre and Boris Karloff works very well. Vincent Price plays the noble, well-meaning Craven with tongue-in-cheek panache. Peter Lorre is the shady Bedlo. Karloff, naturally, is the evil magician, and together the three actors really feed off of each other's performances. A very young Jack Nicholson plays Bedlo's son. Nicholson's famous screen persona is absent, and in this film he plays a rather doltish character--displacedhuman.

Corman directs Price, Karloff & Lorre in a Comedy-Thriller
Director Roger Corman figured that the Poe adaptations he had been making at American International starting with "House of Usher" had pretty much run its course, so in a final masterstroke he decided to start playing up the humor. The result might be more like "Abbott and Costello Meet Frankenstein" than "The Pit and the Pendulum," but you have to admit "The Raven" is one of the best comedy-thrillers ever made. The film begins "straight" with Dr. Erasmuc Craven (Vincent Price) intoning Poe's poem, to an actual raven. But then the raven responsds on cue...with Peter Lorre's voice! It turns out the raven is really another magician, Dr. Bedlo, who has been victimized by Dr. Scarabus (Boris Karloff). Craven turns Bedlo back into a human, and Bedlo agrees to help Craven find his beloved Lenore (Hazel Court). Going along on the journey are Craven's daughter (Olive Sturgess) and Bedlo's son (Jack Nicholson--this explains a lot, huh?). The film's climax is an epic magical duel between Price and Karloff (why even bother with the characters' names anymore?), where the two sorcerers keep trying to top each other.

Ultimately the credit for this one goes mainly to the script from Richard Matheson, who invariably was the screenwriter on Corman's best films. This is another one of those early films with Nicholson that must have been a great source of embarrassment to him once upon a time, but Price, Karloff and Lorre are having so much fun hamming it up in this one that you have little choice but to enjoy the indignities heaped upon the future Oscar winner. This 1963 film should not be confused with the film with the same name Karloff made in 1935, although they would certainly make a rather obvious double-bill for a Saturday night.

DON'T GIVE UP YOUR DAY JOB
Not a great read. Could be better with loud guitars.

Great Horror Classic Fun!
One of my favorite actors is Vincent Price. This film not only shows off his acting talents but his sense of humor as well. Peter Lorre is a great pain-in-the-side and the dialogue between the two fellows is funny! "Do you prefer dried bats blood or evaporated?"
Throw in Boris Karloff having a good time and you have a lot of laughs.
The sets are classic 1960's "B" movie. The special effects are nostalgic in these days of Lucusfilm.
If you want a great Saturday night popcorn muncher then you have to get "The Raven."
I got this and "The Comedy of Terrors" at the same time.

"Quoth The Raven"
This Book is an adaptation of Lou's Album of the same name(which is an adaptation of Lou's play POEtry). Overall it is a good read for the Reed fan or the Poe fan. In the book, Reed slightly adapts some of Poe's most memorable poems to reflect his feelings/experiances. Interesting stuff. ... 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-starri