L'empire de la terreur

The fourth venture into Poe adaptations for Roger Corman and Vincent Price sees them taking on the portmanteau format with a trilogy of creepers.

First off is Morella, which finds Price as a typecast loner living in a big old mansion with the dead corpse of his wife! Enter his daughter, who at birth was the reason for Morella's death and thus Price originally holds a grudge, but of course there is a twist in the tale.

Secondly is The Black Cat, with Peter Lorre joining Price in the best of the three tales. Price is a wine tasting dandy, Lorre a complete drunk and once Price meets Lorre's beautiful put upon wife, things are going to end badly.

Finally is The Case of M Valdemar which pits Basil Rathbone into the mix as a devious hypnotist who uses his powers for what he thinks will be sexually tinged deeds. Price is in this as well, but spends most of the story as a corpse.

It's a short sharp shock piece of film making, fun and sometimes stylish, it doesn't however have the requisite scares to marry up with the welcome black humour that makes the second instalment the standout.

Still, having three legends of cinema in one picture has to be a bonus, and The Black Cat alone is worth investing time with this one. 7/10

Another of the Roger Corman/Vincent Price films based VERY loosely on three Edgar Allan Poe tales.

The first is "Morella" where a dying girl comes to visit her father (Price) and find out why he abandoned her as a child. It has to do with her mother (Morella) and her death. Well-done but it doesn't make a lot of sense.

"The Black Cat" is about a man (Peter Lorre) finding out his wife is cheating on him with someone else (Price). It's pretty good but Lorre's acting turns it into a comedy more than a horror story.

"The Case of M. Valdemar" has an evil mesmerist (Basil Rathbone) keeping a man's spirit alive while his body wastes away. Well-done with a pretty gruesome ending.

Basically this a good anthology of horror stories. They're well-produced, well-acted and written. Just don't expect them to be anything like the Poe tales (especially "Morella"). GREAT liberties have been taken with the stories--they just use them as a starting point and build on it.

Also try to see it letter-boxed--the pan and scan TV version is pretty terrible.

I give it a 7.

I saw Tales of Terror because I'm a fan of Edgar Allan Poe, Vincent Price and Basil Rathbone and I like Peter Lorre too. I found the film very enjoyable if not a masterpiece. As a matter of fact two thirds of the movie is great, but I did find one segment lacking. That segment was Morella. It is not terrible by all means, it does have the best costume and set design of the film- though the whole of Tales of Terror is very handsomely mounted- and Vincent Price is great as ever in a role that suits him to the bone. But the story is all over the place and doesn't make that much sense, Leona Gage is bland in the title role and the segment is much too rushed so we don't feel much of the atmosphere. The Black Cat fares much better though, again it looks spookily sumptuous, and the writing is broadly droll, while the story still evokes a chilling atmosphere. Price is excellent once again, and Peter Lorre- these two are very memorable together- is in excellent scene-stealing form. The best of the three is The Case of Mr Valdemar, the closest in spirit to Poe's stories(with Morella being the loosest) and the most chillingly atmospheric, especially at the end. The story and writing convey the wittiness, intelligence and horror of Poe's writing very well, while Price gives his best performance of the three segments again in a role that really plays to his strengths and very rarely will you see Basil Rathbone as evil as he is here. Overall, a spooky, handsomely mounted and fun movie that just falls short of being a masterpiece. 8/10 Bethany Cox

This Roger Corman adaptation of three Edgar Allan Poe stories is fun to watch, hard to take too seriously. The first tale, Morella, is the most sombre, featuring Vincent Price mourning the death of his wife, for which he blames his young daughter. It's short and quite dramatic. The second story, The Black Cat, is an amiable mess, featuring Price and Peter Lorre. It has some agreeable humor, especially in its wine tasting scenes, and has some evocative nineteenth century street and tavern sets. The final tale, Facts In the Case Of M. Valdemar, features Price as a dying man whose consciousness but not body is kept alive by a scheming mesmerist, played by Basil Rathbone. This one ends on a note of pure horror, and is nearest to Poe in its mood and ideas.

Screenwriter Richard Matheson did a reasonable job of adapting Poe, and Corman was probably wise to emphasize jokes in the middle tale, as Poe was one grim, death-haunted writer, and each of these stories is a meditation on death and the tricks it plays on us. Perhaps to compensate somewhat for the morbidity of the stories, Corman emphasizes bright colors throughout, as the decor and costumes are quite attractive, almost garish at times. The actors are fine, the older ones especially, though Maggie Pierce in Morella is quite good, if too contemporary in looks and voice.

I can't resist a few sociological comments on the Corman-Poe cycle of films of the early sixties. Tales Of Terror came out in 1962, the high noon of the New Frontier. This was a time of optimism and social change, the start of the space program and the Civil Rights movement, and yet in the middle of it all there was this series of low budget horror films, aimed mostly at children and teenagers, and quite unwholesome in atmosphere and subject matter. These weren't even monster movies, like the horrors of old, they were morbid movies about death, torture, witchcraft and premature burials. They were like anti-Disney films, with Price, Lorre and Rathbone instead of MacMurray, Brian Keith and Dorothy McGuire. If in Disney nothing really bad ever happened, in Corman-Poe nothing really good ever happened. Disney represented the smiling surface of America, while Corman-Poe hinted as anxieties just below the surface, and as such, sad to say, portents of things to come.

This film is a very loose adaptation of three Edgar Allan Poe tales, "Morella", "The Black Cat" and "The (Facts in the) Case of M. Valdemar", each roughly one half-hour in length. All three feature Vincent Price. The Black Cat also features Peter Lorre, and M. Valdemar also features Basil Rathbone. Morella concerns a daughter returning to the home of her father, who is estranged because of the mother's death. The Black Cat concerns an alcoholic who makes a crucial mistake in covering up a crime. And M. Valdemar concerns a doctor experimenting with hypnosis (or "mesmerism") on a terminally ill man.

Although fairly clunky and uneven compared to the other Roger Corman/Vincent Price Poe collaborations (which tend to be excellent), and even compared to other similar collections of short films from the same era, such as Amicus' Dr. Terror's House of Horrors (1965), this is still a good film, and earned an 8 out of 10 from me.

It is usually very difficult to try to adapt Poe stories to film--similar to the difficulty of attempting to adapt H.P. Lovecraft to film. Both authors write very dense, poetic, often abstract prose, and Poe, especially, is sometimes not very plot-oriented. Each segment in Tales of Terror succeeds in its own way, however.

Morella, as Poe writes it, is an exploration of what personal identity means, particularly as it applies to continuation through offspring. In director Corman and writer Richard Matheson's hands, Morella becomes an even more abstract depiction of the ideas of personal identity, turned into more of a supernatural ghost story. It's also implied in the film that a lot of the events perhaps occurred in Locke's (Price) mind, leading up to the tragic ending. This segment is particularly notable for the set design, which is the best in the film.

The Black Cat, which is Poe's most conventionally plotted tale out of the three presented here, is also probably the most changed. The changes in this case are surely due to the still lingering studio-imposed moral and content restrictions of the "Golden Era" of Hollywood. The changes are understandable, if still lamentable, in historical context. Corman and Matheson turn Poe's very dark and somewhat grisly story into more of a comedy for its first half, then more a tale of moral retribution in the second half. It's a joy to watch in any event, especially seeing Price's hammy comic performance. The ending of this section is as chilling as the beginning is humorous.

Except for the addition of a couple characters, The Case of M. Valdemar is probably the closest to its source in spirit. This is a tightly scripted, creepy story, and the Carmichael (Rathbone) character is actually an improvement on Poe, and it's great to see Rathbone play someone so evil. In a fairly literal way, this is a great zombie story, although the ending of the filmed version is a bit more vague in both plot and in explaining the horrific dilemma than Poe's version.

Despite its slight flaws--mainly that it's a bit too bright and colorful and the mood of the segments could have matched better--Tales of Terror is worth viewing, especially for any Poe, Corman, Price or Rathbone fans.