Tag Archives: Vincent Price

Joe May – The House of the Seven Gables (1940)

Synopsis:
Clifford Pyncheon’s (Vincent Price) father, Gerald (Gilbert Emery), decides that in his dying days, the family’s mansion must be sold to clear their debts. Gerald also believes it will remove the family of a curse — a result of their many misdeeds over the years that allowed their once-prominent lifestyle. However, Gerald’s other son, Jaffrey (George Sanders), has different ideas as to what should be done with the property, and frames Clifford for murder in an attempt to keep the mansion. Read More »

Anatole Litvak – The Long Night (1947)

Synopsis:
Shortly after a violent encounter with magician Maximilian (Vincent Price), Joe Adams (Henry Fonda) is shot by police. As he lies dying in his apartment, he reflects on his past. The flashbacks follow Joe as he falls in love with young Jo Ann (Barbara Bel Geddes), who is also being courted by Maximilian. Jo Ann begins to favor the compassionate Joe over the possessive magician, and Maximilian heads to Joe’s apartment intending to kill him, resulting in a dramatic standoff. Read More »

Samuel Fuller – The Baron of Arizona (1950)

Synopsis:
Thirty years before Arizona achieves statehood, scam artist James Addison Reavis (Vincent Price) cooks up an elaborate scheme to claim the territory as his own. Reavis convinces Mexican immigrant Pepito (Vladimir Sokoloff) that his daughter is the heir to a barony of land granted by Spain, and then departs for years of patient efforts to create a false paper trail. He returns years later to claim the now-grown heir, Sofia (Ellen Drew), as his wife, but will his plan withstand scrutiny? Read More »

Richard Whorf – Champagne for Caesar (1950)

An unjustly neglected, extremely funny jab at the media empire and the world of big business. Beauregard Bottomley (Ronald Colman) is an unemployed genius who holds a Ph.D., skims the encyclopedia for enjoyment and never forgets a thing he’s read. He applies for work at a soap company owned by Burbridge Waters (Vincent Price) but is rebuffed by the suds magnate. Beauregard is so annoyed by the treatment he receives at Waters’s hands that he decides to bankrupt the company by becoming a contestant on the popular radio quiz show. Read More »

Roger Corman – Pit and the Pendulum (1961)

Synopsis:
Francis Barnard goes to Spain, when he hears his sister Elizabeth has died. Her husband Nicholas Medina, the son of the brutest torturer of the Spanish Inquisition, tells him she has died of a blood disease, but Francis finds this hard to believe. After some investigating he finds out that it was extreme fear that was fatal to his sister and that she may have been buried alive! Strange things then start to happen in the Medina castle. Read More »

Roger Corman – House of Usher AKA The Fall of the House of Usher (1960)

Synopsis:
After a long journey, Philip arrives at the Usher mansion seeking his loved one, Madeline. Upon arriving, however, he discovers that Madeline and her brother Roderick Usher have been afflicted with a mysterious malady: Roderick’s senses have become painfully acute, while Madeline has become catatonic. That evening, Roderick tells his guest of an old Usher family curse: any time there has been more than one Usher child, all of the siblings have gone insane and died horrible deaths. As the days wear on, the effects of the curse reach their terrifying climax. Read More »

Roger Corman – Tales of Terror (1962) (HD)

Quote:
A capital summarization of Roger Corman’s Poe cycle. The model is L’Amore, the meditation on the director’s art in contrasting moods addressed by the actor — Magnani playing urbane and then peasant for Rossellini, Vincent Price fitting Corman’s sense of the grotesque into august and absurdist guises. Morella, the first tale, gives a deft synthesis of House of Usher and The Pit and the Pendulum. Maggie Pierce enters a crumbling castle, inside are tarantulas in crimson chalices and a cake wrapped in cobwebs, Price is her grief-consumed father, her dead mother (Leona Gage) looms in spirit (an overseeing portrait) and in the flesh (a mummy in the boudoir); the vengeful past averts family healing, so the climax mates incest with necrophilia amid the flames. Read More »