Part 1. The Levels of the Aesthetic Stage Through Castle Rooms and Colour. Corman’s beautiful excess of colour in the film has already been mentioned but colour plays a vital role within the film’s narrative too. Its narrative focus however does not chime well with the Kierkegaard reading when considering the unevenness and ambiguity as to the death creatures and their colours at the end … Continue reading The Masque of the Red Death (1964) – Kierkegaard’s Aesthetic Phase and Inverted Freudian Pleasure Principle (Part 2).
Roger Corman may be better known for pulpy B-movies but his work adapting Edgar Allen Poe for the big screen is uncharacteristically layered and has a depth that far outstrips films of a far more serious ilk. Almost all his Poe adaptations (excluding the fun but overall light The Raven) take Poe’s original structure for stories and adds questioning elements to them, largely built around … Continue reading The Masque of the Red Death (Roger Corman, 1964) – Kierkegaard’s Aesthetic Phase and Inverted Freudian Pleasure Principle (Part 1).
Cry of the Banshee (1970) makes no qualms as to what its aims are. Looking at its promotional poster, it would be natural to associate it with Roger Corman’s Poe films; it’s emblazoned with Edgar Allen Poe references, its main star is Vincent Price and its design is a technocolour nightmare. The film itself is about as far from Corman’s dreamlike fantasies as possible in … Continue reading Cry Of The Banshee – Gordon Hessler (1970)
Roger Corman’s work has been often been described as schlock film; a pulpy mass of horror, sci-fi and B-movie nonsense of only vague merit and achievement. Excluding his actual films for a minute, looking at the number of people who have developed under the man’s wing, whether as a producer or director, is quite astounding. On the director’s side, he’s nurtured and helped the likes … Continue reading The Fall Of The House Of Usher – Roger Corman (1960)
With its rather ominous opening, the viewer would perhaps be forgiven for thinking that Roger Corman’s adaptation of Poe’s The Raven would be in similar ilk to his other dark Poe films. What at first seems like yet another gothic retelling of a Poe classic turns out to be a swiftly delivered curve ball that has, at its core, a desire for fun and mischief … Continue reading The Raven – Roger Corman (1963)
Roger Corman’s adaptations of Edgar Allan Poe’s short stories are just as vital to the classic horror canon as the films by Hammer and Amicus productions. Their influence is vast and the number of big names to come out from under Corman’s wing is monumental. Having set up a distinctive style to filming Poe’s work by shooting them all on soundstages, Corman sort to go … Continue reading The Tomb of Ligeia – Roger Corman (1964)