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The Masque of the Red Death (1964) is Roger Corman's, and most people's, choice as the best of the Edgar Allan Poe pictures.
Masque offers the expected creepy atmosphere and violence against peasants, plus metaphysical ponderings and pointed satanic cruelty. (Corman was operating as much under the influence of Ingmar Bergman as of Edgar Allan Poe.) Nicolas Roeg's color cinematography and Daniel Haller's elaborate production design would be stellar in any Hollywood A-movie; the mono-colored rooms of the prince's castle are a startling effect. Vincent Price is in fine fettle as Prince Prospero, the devil-worshipping sadist who throws lavish parties while the countryside is ravaged by the plague.
The Premature Burial (1962) substitutes Ray Milland in the usual Price role. He's a snarky landowner (with a sideline in art--dig those mod paintings) haunted by the fear of being buried alive. This single-minded focus limits the film, but it also adds to the smothering sense of anxiety that prevails throughout its unhealthy scenario. Luscious Hazel Court is Milland's new missus, and old-school cameraman Floyd Crosby proves his facility for photographing women in a classical style. Lots of cobwebs-on-candelabra in the customary Corman-Poe manner, with special emphasis on Milland's crypt, with its supposedly foolproof exit schemes. --Robert Horton
Special Features
The DVD includes fun trailers for both films, plus brief interviews with Roger Corman (18 minutes on
Masque of the Red Death, 8 minutes for
Premature Burial). Corman's anecdotes are practiced and informative: he says he delayed tackling
Masque because he felt people might accuse him of stealing from Ingmar Bergman's
The Seventh Seal, and he recalls the time his leading lady's boyfriend from Liverpool came by the set for a visit (she was Jane Asher, the boyfriend was Paul McCartney).
--Robert Horton