ChiaroScuro DVD-Collection
Alphabetically sorted by Director's last name
Total number of titles: 1397
Last updated: 09 Feb 2007
(Die Verfluchten / Der Untergang des Hauses Usher [de])
USA 1960
d: Roger Corman
MGM Home Entertainment (Region 1 us)
USA 1960
d: Roger Corman
MGM Home Entertainment (Region 1 us)
sc: Richard Matheson (from the story "The Fall of The House of Usher" by Edgar Allan Poe)
c: Floyd Crosby (Color, CinemaScope)
e: Anthony Carras
pd: Daniel Haller
m: Les Baxter
p: Roger Corman (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, Mark Damon, Myrna Fahey, Harry Ellerbe, Eleanor LeFaber, Ruth Oklander, Géraldine Paulette
pr: 22 Jun 1960
c: Floyd Crosby (Color, CinemaScope)
e: Anthony Carras
pd: Daniel Haller
m: Les Baxter
p: Roger Corman (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, Mark Damon, Myrna Fahey, Harry Ellerbe, Eleanor LeFaber, Ruth Oklander, Géraldine Paulette
pr: 22 Jun 1960
rt: 79:11 min
dvd-rl: 05 Jun 2001
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • Audio Commentary Dolby Digital 2.0 Mono
st: French, Spanish; CC
supp: "Midnite Movies" double feature with "The Pit and the Pendulum"
• Audio Commentary with Roger Corman (director)
• Theatrical trailer (2:29 min)
dvd-rl: 05 Jun 2001
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • Audio Commentary Dolby Digital 2.0 Mono
st: French, Spanish; CC
supp: "Midnite Movies" double feature with "The Pit and the Pendulum"
• Audio Commentary with Roger Corman (director)
• Theatrical trailer (2:29 min)
The first of Corman's eight-film Poe cycle, and one of his most faithful adaptations. Price is his usual impressive self as the almost certainly incestuously inclined Roderick Usher who, having buried his sister alive when she falls into a cataleptic trance, becomes the victim of her ghostly revenge; but it is Corman's overall direction that lends the film its intelligence and power. The sickly decadence and claustrophobia of the Usher household - which is both disturbed and temporarily cleansed by the fresh air that accompanies Damon's arrival as suitor to Madeline Usher - is admirably evoked by Floyd Crosby's 'Scope photography and Daniel Haller's art direction, the latter's sets dominated by a putrid, bloody crimson. But Richard Matheson's script is also exemplary: lucid, imaginatively detailed and subtle.
— GA, Time Out Film Guide
— GA, Time Out Film Guide
(Das Pendel des Todes [de])
USA 1961
d: Roger Corman
MGM Home Entertainment (Region 1 us)
USA 1961
d: Roger Corman
MGM Home Entertainment (Region 1 us)
sc: Richard Matheson (from the story by Edgar Allan Poe)
c: Floyd Crosby (Pathécolor, Panavision)
e: Anthony Carras
pd: Daniel Haller
m: Les Baxter
p: Roger Corman (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, John Kerr, Barbara Steele, Luana Anders, Antony Carbone, Patrick Westwood, Lynette Bernay, Larry Turner, Mary Menzies, Charles Victor
pr: 12 Aug 1961
c: Floyd Crosby (Pathécolor, Panavision)
e: Anthony Carras
pd: Daniel Haller
m: Les Baxter
p: Roger Corman (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, John Kerr, Barbara Steele, Luana Anders, Antony Carbone, Patrick Westwood, Lynette Bernay, Larry Turner, Mary Menzies, Charles Victor
pr: 12 Aug 1961
rt: 80:21 min
dvd-rl: 05 Jun 2001
ar: 2.35:1 (4:3 Letterbox Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • Audio Commentary Dolby Digital 2.0 Mono
st: French, Spanish; CC
supp: "Midnite Movies" double feature with "Fall Of The House Of Usher"
• Audio Commentary by Roger Corman (director/producer)
• Original Theatrical Prologue (4:3 format) (4:59 min)
• Original Theatrical Trailer (2:25 min)
dvd-rl: 05 Jun 2001
ar: 2.35:1 (4:3 Letterbox Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • Audio Commentary Dolby Digital 2.0 Mono
st: French, Spanish; CC
supp: "Midnite Movies" double feature with "Fall Of The House Of Usher"
• Audio Commentary by Roger Corman (director/producer)
• Original Theatrical Prologue (4:3 format) (4:59 min)
• Original Theatrical Trailer (2:25 min)
Corman at his intoxicating best, drawing a seductive mesh of sexual motifs from Poe's story through a fine Richard Matheson script. Vincent Price is superbly tormented as the 16th century Spanish nobleman obsessed by the fear that his wife was entombed alive in his castle's torture chamber, a repetition of family history that entails his takeover by the personality of his dead father, the Inquisitor who built the fiendish dungeon. And Barbara Steele, as the faithless wife who faked her own death, embodies all the contradictions of Poe's quintessential female to perfection.
— Time Out Film Guide
— Time Out Film Guide
(Lebendig begraben [de])
USA 1962
d: Roger Corman
MGM Home Entertainment (Region 1 us)
USA 1962
d: Roger Corman
MGM Home Entertainment (Region 1 us)
sc: Charles Beaumont, Ray Russell (from the story by Edgar Allan Poe)
c: Floyd Crosby (Eastmancolor, Panavision)
e: Ronald Sinclair
pd: Daniel Haller
m: Ronald Stein, Les Baxter
p: Roger Corman, Samuel Z. Arkoff (American International Pictures (AIP) / Filmways Pictures / Santa Clara Productions)
w: Ray Milland, Hazel Court, Richard Ney, Heather Angel, Alan Napier, John Dierkes, Dick Miller, Clive Halliday, Brendan Dillon
pr: 07 Mär 1962
c: Floyd Crosby (Eastmancolor, Panavision)
e: Ronald Sinclair
pd: Daniel Haller
m: Ronald Stein, Les Baxter
p: Roger Corman, Samuel Z. Arkoff (American International Pictures (AIP) / Filmways Pictures / Santa Clara Productions)
w: Ray Milland, Hazel Court, Richard Ney, Heather Angel, Alan Napier, John Dierkes, Dick Miller, Clive Halliday, Brendan Dillon
pr: 07 Mär 1962
rt: 81:09 min
dvd-rl: 27 Aug 2002
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono
st: English, French, Spanish; CC
supp: "Midnite Movies" double feature with "The Masque of the Red Death"
• "Roger Corman Unearths Premature Burial" interview featurette (9:38 min)
• Theatrical trailer (2:29 min)
dvd-rl: 27 Aug 2002
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono
st: English, French, Spanish; CC
supp: "Midnite Movies" double feature with "The Masque of the Red Death"
• "Roger Corman Unearths Premature Burial" interview featurette (9:38 min)
• Theatrical trailer (2:29 min)
The third of Corman's generally impressive Poe cycle suffers from the fact that Milland, rather than Vincent Price (lead in most of the other entries in the series), stars as the cataleptic medical student haunted by fantastic fears of being buried alive like his father before him. Needless to say, nightmare becomes reality and revenge is meted out; indeed, the predictability of the plotting clearly led Corman to focus his attention, somewhat decoratively, on conjuring up a gloomy Gothic atmosphere that, while effective, too often seems an end in itself, rather than a means of creating horror. The film does have its macabre moments, however, notably Milland proudly showing friends around a tomb he has devised for himself, complete with a variety of exits should his worst dreams come true.
— GA, Time Out Film Guide
— GA, Time Out Film Guide
(Satanas - Das Schloß der blutigen Bestie [de])
UK 1964
d: Roger Corman
MGM Home Entertainment (Region 1 us)
UK 1964
d: Roger Corman
MGM Home Entertainment (Region 1 us)
sc: Charles Beaumont, R. Wright Campbell (from the stories "The Masque of the Red Death" and "Hop-Frog" by Edgar Allan Poe)
c: Nicolas Roeg (Pathécolor, Panavision)
e: Ann Chegwidden
pd: Daniel Haller
m: David Lee
p: Roger Corman, George Willoughby (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, Hazel Court, Jane Asher, David Weston, Nigel Green, Patrick Magee, Paul Whitsun-Jones, Robert Brown, Julian Burton, David Davies
pr: 24 Jun 1964
c: Nicolas Roeg (Pathécolor, Panavision)
e: Ann Chegwidden
pd: Daniel Haller
m: David Lee
p: Roger Corman, George Willoughby (Alta Vista Productions / American International Pictures (AIP))
w: Vincent Price, Hazel Court, Jane Asher, David Weston, Nigel Green, Patrick Magee, Paul Whitsun-Jones, Robert Brown, Julian Burton, David Davies
pr: 24 Jun 1964
rt: 88:40 min
dvd-rl: 27 Aug 2002
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono
st: English, French, Spanish; CC
supp: "Midnite Movies" double feature with "The Premature Burial"
• "Roger Corman Behind The Masque" interview featurette (18:51 min)
• Theatrical trailer (2:13 min)
dvd-rl: 27 Aug 2002
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono
st: English, French, Spanish; CC
supp: "Midnite Movies" double feature with "The Premature Burial"
• "Roger Corman Behind The Masque" interview featurette (18:51 min)
• Theatrical trailer (2:13 min)
Less polished than The Tomb of Ligeia, but still the best and most ambitious of Corman's Poe cycle. Apart from a scruffy opening scene, it looks stunningly handsome, with Nicolas Roeg's camera providing alluring effects like the sudden switches from white to yellow, purple to black, as Jane Asher scurries through a sequence of rooms each designed in a different colour. It is also graced by an intelligent script (the admirable Charles Beaumont) which probes the concept of diabolism with considerable subtlety, even though the black magic scenes were removed in Britain by the censor. Where most films of this nature tend simply to pile on the blood, here there is a genuine chill of intellectual evil in the philosophical speculations of Price's 12th century Italian Prince Prospero, 'safely' immured in his castle while the plague rages outside, dreaming up fiendish ways of entertaining/tormenting his prisoner-guests.
— TM, Time Out Film Guide
•••••
The Masque of the Red Death was the seventh of Roger Corman's eight Poe adaptations, and one of two (the other being The Tomb of Ligeia) to be produced in Britain on slightly larger budgets than usual. Throughout the cycle Corman's distinctive mise-en-scène—comprising an expressive use of colour and sweeping, elegant camera movements— had represented in external form his characters' troubled psychological states. (This differentiated him sharply from the more moralistic approach adopted by contemporaneous British horror filmmakers.)
In many ways, Masque is the least coherent of all the Poe films. While the psychological element is still present—notably at the conclusion, where the cloaked figure which brings death to Vincent Price's Prince Prospero is played by Price himself—its development is hampered by a loss of focus within the organization of the narrative. This can be attributed to the script's rather clumsy stitching together of two of Poe's short stories, "Hop-Frog" and "The Masque of the Red Death," and it results in Price, usually the most precise and expert of actors, seeming uncertain at times as to what tone to adopt. The banality of his "philosophy" of evil is a further hindrance as is the lacklustre concluding masque (which was apparently curtailed during production by budgetary restrictions).
In order then to locate the film's merits, which are considerable, one needs to look elsewhere. Firstly, to Corman's use of colour which, largely detached as it is from its usual psychologically expressive function, takes on a non-representational, kinetic force— most impressively in the various camera tracks through a series of rooms, each of which has been decorated in a different colour—which is rarely seen in mainstream commercial productions and which anticipates moments of psychedelic abstraction in Corman's later "drug-culture" film The Trip.
Secondly, all the scenes involving Juliana, played by British actress Hazel Court. Court had already appeared in several British horror films (The Curse of Frankenstein, The Man Who Could Cheat Death) in conventionally staid leading roles. In Corman's films (she also appears in The Raven and The Premature Burial) she is unexpectedly transformed into a figure of awesome sexual perversity. Her masochistic preparations for her "marriage" to Satan are given us in meticulous detail; first she brands herself and then has a series of hallucinations (cut from the initial British release print), all of which re-enact a brutal rape fantasy. Marriage—in a Poe-like equation—is linked to the death of the bride, and Court commits herself to this with an eagerness which is truly disturbing. The intensity of her performance has only been equalled within the horror genre in some of the films featuring Barbara Steele (another British actress who left her native country and developed her career elsewhere: she had starred in an earlier Corman production, The Pit and the Pendulum). It is only in these brilliantly executed scenes, in which the film's formal qualities most eloquently match its content, that Corman finds a coherent theme upon which he can exercise his formidable ability to visualise a character's perverse desires. The film's true dramatic climax is the chilling epitaph spoken by Prospero over Juliana's dead body: "I beg you, do not mourn for Juliana. We should celebrate. She has just married a friend of mine." As is so often the case in Corman's work, the forces of good that eventually triumph, represented here somewhat half-heartedly by Jane Asher's Francesca, are, in comparison with this vividly drawn picture of a desire unto death, anaemic and unconvincing.
— Peter Hutchings
•••••
With its lavish-looking production values, MASQUE OF THE RED DEATH is one of the most beautiful horror films ever made. Production designer Daniel Haller did his most splendid job on the sets, retooling the existing flats to conform to Poe's story (Haller had to share credit with an English designer to keep the local unions happy). English cinematographer Nicolas Roeg used lush color to contrast the form and look of the images with the horrifying content of what the images conveyed.
Comparing Roeg to Floyd Crosby, who had filmed the American Poe adaptaitons, Corman said, "Floyd Crosby did brilliant work, very quickly. It’s very easy for a cameraman to light a set quickly, and generally you will see the result—it’s not too good. It’s also comparatively easy—not as easy but almost—for a cameraman to do brilliant lighting if he has all day. On a fifteen-day schedule, Floyd was fast enough to give me all of the angles I needed but at the same time give me the quality I needed. Nicolas Roeg was a young cameraman in London, who later became a very good director. Nic I think was as talented as Floyd, but he was a little bit slower. The whole English crews worked a little slower. I’d say their twenty-five days [of shooting] was equivalent to eighteen-nineteen-twenty days of an American crew. To a certain extent, it was very pleasant. We’d start working, and suddenly we’d stop working at eleven in the morning for ‘elevenses’—tea and crumpets and so forth. Then we’d start working again and break for lunch, and then for tea in the afternoon. So it was a very leisurely pace. I’ve always thought of Nic Roeg and Floyd Crosby, along with Nestor Alemendros, as the three best [cinematographers]."
The script by Charles Beaumont and R. Wright Campbell effectively expands the four-age story to feature length, seamlessly interpolating another Poe story “Hop-Frog” as a sub-plot. (One might also had that Prospero’s love of a jest is also taken from this story.) Corman films the story with polished expertise, alternating his signature extended tracking shots and long takes (e.g., the camera performs a 360-degree pan while Prospero lectures his followers on the nature of terror) with carefully calibrated montage (when Prospero forces two protagonists into a life-or-death game, which only one will survive, the reactions shots of the guests enjoying the entertainment intercut with Prospero’s increasing dismay as neither victim betrays any sign of fear).
Among the visual highlights is the suite of rooms described in Poe’s story, each one a different color (blue, white, etc), the last one black with deep red light. In one typical Corman scene, the sound of chanting lures Francesca through the suite to the last room, where she finds Prospero prostrate on an altar (apparently in a drug induced stupor, as part of some black magic ritual). When Prospero suddenly awakens, the frightened girl runs out the way she came, through several rooms and corridors, until her path is blocked by a frightening masked figure. Similar scenes occur in several of Corman’s Poe films—part of the formula he applied to the horror genre, based on his understanding of Freudian symbolism.
— Steve Biodrowski
— TM, Time Out Film Guide
•••••
The Masque of the Red Death was the seventh of Roger Corman's eight Poe adaptations, and one of two (the other being The Tomb of Ligeia) to be produced in Britain on slightly larger budgets than usual. Throughout the cycle Corman's distinctive mise-en-scène—comprising an expressive use of colour and sweeping, elegant camera movements— had represented in external form his characters' troubled psychological states. (This differentiated him sharply from the more moralistic approach adopted by contemporaneous British horror filmmakers.)
In many ways, Masque is the least coherent of all the Poe films. While the psychological element is still present—notably at the conclusion, where the cloaked figure which brings death to Vincent Price's Prince Prospero is played by Price himself—its development is hampered by a loss of focus within the organization of the narrative. This can be attributed to the script's rather clumsy stitching together of two of Poe's short stories, "Hop-Frog" and "The Masque of the Red Death," and it results in Price, usually the most precise and expert of actors, seeming uncertain at times as to what tone to adopt. The banality of his "philosophy" of evil is a further hindrance as is the lacklustre concluding masque (which was apparently curtailed during production by budgetary restrictions).
In order then to locate the film's merits, which are considerable, one needs to look elsewhere. Firstly, to Corman's use of colour which, largely detached as it is from its usual psychologically expressive function, takes on a non-representational, kinetic force— most impressively in the various camera tracks through a series of rooms, each of which has been decorated in a different colour—which is rarely seen in mainstream commercial productions and which anticipates moments of psychedelic abstraction in Corman's later "drug-culture" film The Trip.
Secondly, all the scenes involving Juliana, played by British actress Hazel Court. Court had already appeared in several British horror films (The Curse of Frankenstein, The Man Who Could Cheat Death) in conventionally staid leading roles. In Corman's films (she also appears in The Raven and The Premature Burial) she is unexpectedly transformed into a figure of awesome sexual perversity. Her masochistic preparations for her "marriage" to Satan are given us in meticulous detail; first she brands herself and then has a series of hallucinations (cut from the initial British release print), all of which re-enact a brutal rape fantasy. Marriage—in a Poe-like equation—is linked to the death of the bride, and Court commits herself to this with an eagerness which is truly disturbing. The intensity of her performance has only been equalled within the horror genre in some of the films featuring Barbara Steele (another British actress who left her native country and developed her career elsewhere: she had starred in an earlier Corman production, The Pit and the Pendulum). It is only in these brilliantly executed scenes, in which the film's formal qualities most eloquently match its content, that Corman finds a coherent theme upon which he can exercise his formidable ability to visualise a character's perverse desires. The film's true dramatic climax is the chilling epitaph spoken by Prospero over Juliana's dead body: "I beg you, do not mourn for Juliana. We should celebrate. She has just married a friend of mine." As is so often the case in Corman's work, the forces of good that eventually triumph, represented here somewhat half-heartedly by Jane Asher's Francesca, are, in comparison with this vividly drawn picture of a desire unto death, anaemic and unconvincing.
— Peter Hutchings
•••••
With its lavish-looking production values, MASQUE OF THE RED DEATH is one of the most beautiful horror films ever made. Production designer Daniel Haller did his most splendid job on the sets, retooling the existing flats to conform to Poe's story (Haller had to share credit with an English designer to keep the local unions happy). English cinematographer Nicolas Roeg used lush color to contrast the form and look of the images with the horrifying content of what the images conveyed.
Comparing Roeg to Floyd Crosby, who had filmed the American Poe adaptaitons, Corman said, "Floyd Crosby did brilliant work, very quickly. It’s very easy for a cameraman to light a set quickly, and generally you will see the result—it’s not too good. It’s also comparatively easy—not as easy but almost—for a cameraman to do brilliant lighting if he has all day. On a fifteen-day schedule, Floyd was fast enough to give me all of the angles I needed but at the same time give me the quality I needed. Nicolas Roeg was a young cameraman in London, who later became a very good director. Nic I think was as talented as Floyd, but he was a little bit slower. The whole English crews worked a little slower. I’d say their twenty-five days [of shooting] was equivalent to eighteen-nineteen-twenty days of an American crew. To a certain extent, it was very pleasant. We’d start working, and suddenly we’d stop working at eleven in the morning for ‘elevenses’—tea and crumpets and so forth. Then we’d start working again and break for lunch, and then for tea in the afternoon. So it was a very leisurely pace. I’ve always thought of Nic Roeg and Floyd Crosby, along with Nestor Alemendros, as the three best [cinematographers]."
The script by Charles Beaumont and R. Wright Campbell effectively expands the four-age story to feature length, seamlessly interpolating another Poe story “Hop-Frog” as a sub-plot. (One might also had that Prospero’s love of a jest is also taken from this story.) Corman films the story with polished expertise, alternating his signature extended tracking shots and long takes (e.g., the camera performs a 360-degree pan while Prospero lectures his followers on the nature of terror) with carefully calibrated montage (when Prospero forces two protagonists into a life-or-death game, which only one will survive, the reactions shots of the guests enjoying the entertainment intercut with Prospero’s increasing dismay as neither victim betrays any sign of fear).
Among the visual highlights is the suite of rooms described in Poe’s story, each one a different color (blue, white, etc), the last one black with deep red light. In one typical Corman scene, the sound of chanting lures Francesca through the suite to the last room, where she finds Prospero prostrate on an altar (apparently in a drug induced stupor, as part of some black magic ritual). When Prospero suddenly awakens, the frightened girl runs out the way she came, through several rooms and corridors, until her path is blocked by a frightening masked figure. Similar scenes occur in several of Corman’s Poe films—part of the formula he applied to the horror genre, based on his understanding of Freudian symbolism.
— Steve Biodrowski
(Das Grab des Grauens [de])
UK 1964
d: Roger Corman
MGM Home Entertainment (Region 2 uk)
UK 1964
d: Roger Corman
MGM Home Entertainment (Region 2 uk)
sc: Robert Towne (from the story by Edgar Allan Poe)
c: Arthur Grant (Color, Colorscope)
e: Alfred Cox
pd: Colin Southcott, Daniel Haller
m: Kenneth V. Jones
p: Samuel Z. Arkoff, Pat Green (Alta Vista Film Production)
w: Vincent Price, Elizabeth Shepherd, John Westbrook, Derek Francis, Oliver Johnston, Richard Vernon, Frank Thornton, Ronald Adam, Denis Gilmore, Penelope Lee
pr: 15 Nov 1964
c: Arthur Grant (Color, Colorscope)
e: Alfred Cox
pd: Colin Southcott, Daniel Haller
m: Kenneth V. Jones
p: Samuel Z. Arkoff, Pat Green (Alta Vista Film Production)
w: Vincent Price, Elizabeth Shepherd, John Westbrook, Derek Francis, Oliver Johnston, Richard Vernon, Frank Thornton, Ronald Adam, Denis Gilmore, Penelope Lee
pr: 15 Nov 1964
rt: 78:21 (+4%PAL= 82) min
dvd-rl: 17 Okt 2005
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • German Dolby Digital 2.0 Mono • Italian Dolby Digital 2.0 Mono
st: English, German, Dutch, French, Greek, Italian
supp: --
dvd-rl: 17 Okt 2005
ar: 2.35:1 (16:9 Anamorphic Widescreen)
sd: English Dolby Digital 2.0 Mono • French Dolby Digital 2.0 Mono • German Dolby Digital 2.0 Mono • Italian Dolby Digital 2.0 Mono
st: English, German, Dutch, French, Greek, Italian
supp: --
After his long sequence of Poe movies filmed in various studio interiors, Corman decided that The Tomb of Ligeia demanded a change of style and emphasis. Consequently he shot it on a number of highly effective English locations, having commissioned Robert Towne (who subsequently wrote Chinatown) to script it. The result is one of the best in the whole series, an ambiguous, open-ended film which features one of Vincent Price's most decisive performances. There is a long early sequence involving a long monologue by Verden Fell (Price), juxtaposed against Rowena (Shepherd) climbing a gothic tower, which has a syntactic originality that has rarely been equalled in horror movies. But even more importantly, Corman - like Michael Reeves in Witchfinder General - utilised the English landscape in a way that Hammer had often neglected.
— DP, Time Out Film Guide
— DP, Time Out Film Guide
d = director; sc = screenplay; c = cinematographer; e = editor; pd = production design / art director;
m = music score ; p = producer; w = cast; pr = premiere; aw = awards;
rt = runtime; dvd-rl = dvd release; ar = aspect ratio; sd = soundtracks; st = subtitles; supp = supplements
m = music score ; p = producer; w = cast; pr = premiere; aw = awards;
rt = runtime; dvd-rl = dvd release; ar = aspect ratio; sd = soundtracks; st = subtitles; supp = supplements