Die Maske des roten Todes

Possibly the best of the Roger Corman-Vincent Price series of film adaptations of the stories of Edgar Allen Poe, 'The Masque of the Red Death' is a chilling and malevolent tale of decadent devil-worshippers holed up in a castle while the Red Death claims its victims in the village outside.

Vincent Price was a gloriously hammy actor who played horror roles with the utmost seriousness. His characterization of Prince Prospero in this movie is brilliant - a man without a soul or heart who is only conquered when a girl of equal faith enters his castle (the wooden Jane Asher as Francesca). In support Hazel Court as the would-be Bride of Satan Juliana, and Patrick Magee as the corrupt Alfredo are particularly worthy of note.

The dwarf's revenge on Alfredo during the masque is as chilling as anything which came before in films such as 1932's 'Freaks'; while the film shimmers with beautiful cinematography (especially the coloured rooms) and simmers with corruption. The combined effect is superb and makes the film a memorable experience.

A reviewer linked to this site described "The Masque of the Red Death" as Bergmanesque. A Roger Corman film Bergmanesque? Since I've only seen one Ingmar Bergman film, and it bored me silly, this was not much of an endorsement.

When I was a kid and Corman's Edgar Alan Poe adaptations were new, they scared the be-jeebers out of me. So would have "The Masque of the Red Death". After watching the movie recently, I didn't gain any insight into Mr. Bergman's film style, but I was entertained. And happily, the movie is free of the campy acting that seeps into so many of the Corman opus. Especially good is Vincent Price as the Satan-worshipping Prince Prospero, in whose castle his debauched guests wait out the plague that is ravishing the countryside. Dark and grotesque, this is an excellent example of Corman's work. Actually, one of the best I've seen.

Roger Corman frequently gets a hard time from misguided movie snobs who look down on b-grade and exploitation movies. While Corman undoubtedly was involved in more than his fair share of silly schlock (usually as a producer rather than a director), he also made some wonderful movies that are criminally underrated. Some of his best movies as a director were the series of Edgar Allen Poe adaptations he made in the Sixties starring horror legend Vincent Price. 'The Masque Of The Red Death' is quite possibly the very best in the series. It is certainly the most unusual and imaginative. Now I'm not sure whether it was filmed in Britain or not, but Price is supported by a largely British cast which includes Jane Asher ('The Stone Tape'), Hazel Court (Hammer's 'Curse Of Frankenstein'), and the legendary character actor Patrick Magee ('Dementia 13', 'A Clockwork Orange'). That and the fact that the cinematographer is none other than Nic Roeg(!), later to become famous for such classics as 'Performance', 'Don't Look Now' and 'The Man Who Fell To Earth', leads me to believe that it was made in England. The involvement of the aforementioned, and a strong script co-written by the talented Charles Beaumont (try and track down some of his short stories, you'll be impressed), make this a memorable experience. But Corman's direction should be given credit, and the single best thing about it is Vincent Price himself, who gives one of his very best performances. This movie has it all, striking visuals, an intriguing plot (with a stronger Satanic theme than generally seen in most mainstream horror movies), good acting, suspense, plenty of atmosphere, and some striking dream-like imagery many have compared to Bergman's 'Seventh Seal'. 'The Masque Of The Red Death' is one of Roger Corman's greatest achievements and one of the very best horror movies made in the 1960s. It has lost very little of its impact over the years and is still essential viewing for any horror fan, or anybody who appreciates imaginative cinema.

Roger Corman has done an outstanding job with this film, possibly the best of his Poe adaptations. Although the film really is an incorporation of two Poe stories....The Masque of the Red Death and Hop-Frog...it is an excellent, atmospheric, quality piece of entertainment. At the core of the film's strength are the performance of Price as the evil, malignant, malicious Prince Prospero, follower of the devil and cruel sovereign of an area plagued with a all-consuming Red Death, and the fabulous period sets and costumes, many borrowed from the film Beckett. Price is at his best, and his turn as Prospero easily ranks as his most sinister and wicked performance(closely running against his portrayal of a witch hunter in The Conquerer Worm). Vincent Price blends outrageous showmanship with intricate subtleties of a man reasoning why he is what he is. The dialogue certainly is more important than the action in the story...a reason why some viewers(younger ones more than likely) will find film a bit tiresome. The sets and costumes are just gorgeous and the film looks like the most lavish ever made by Corman and company. A true modern masterpiece of the horror cinema!

No need to go into storyline details after so many reviews. Looks like Corman's movie is Bergmann for the rest of us. The screenplay's heavy with philosophical themes about God, evil, and death. However, except for the themes and some of the imagery, the movie's a stylistic opposite of the grim Swedish filmmaker's Seventh Seal (1956). Here candy box colors are lavishly piled on top of one another. No shades of gray or bleak shorelines to depress viewers. Instead, it's manic gaiety interspersed with diabolical games of death and corruption. Looks to me like meaningful horror can be done even with a vivid color scheme, contrary to what some b&w purists have held. Then too, the movie shows that Price is quite capable of giving a non-hammy performance as his icily heartless Prospero proves in a tailor-made performance.

For a minute, however, I thought Hollywood might actually carry through with a tough- minded existential theme (a morally indifferent world) that is suggested by such remarks as our making our own heaven and hell or death being the only overarching reality. But no. Even death, it seems, has a soft spot for love and lovers. So at the last minute Hollywood sneaks in, after all. Nonetheless, the movie's easily the best of Corman's adaptations of Poe, echoes of Bergmann or no.