Director Gordon Hessler is back for another AIP Poe adaptation, this one mildly clever in the way it incorporates the Poe elements into the film. As we saw with The Oblong Box and many others, it was common to take the title of a Poe short story or poem, apply it to the film, then have not the slightest thing to do with the Poe story of the same title in the plot. Murders in the Rue Morgue takes the title from Poe’s story, but instead of adapting it or discarding it, sets its action around a theatrical production of Poe’s Murders in the Rue Morgue that becomes plagued with murders and yet another vengeful disfigured madman who was buried alive. According to Hessler, this was done because Murders in the Rue Morgue had already been made into a movie, and everyone knew how it ended. Thus there was no suspense in the film — not that Hessler was all that great at creating suspense anyway.
Hessler and Price are together again (for the first time) for a Poe adaptation that actually has a little something to do with Poe, or at least as much as any AIP Poe film has to do with Poe. Poe’s short story, “The Oblong Box,” has to do with a man who witnesses the obsession of an artist friend on a ship with an oblong shipping crate. So committed is the man, seeming delirious and mad, to this box that when the ship is wrecked during a storm, he sinks to the bottom of the ocean with the box rather than abandon it. Not to spoil the surprise, but it was a coffin containing his dead wife, though no one knew of the contents lest they refuse to travel overseas with a corpse. Hessler’s film does indeed contain a coffin that is referred to as an oblong box. And there is an artist, though he himself has no coffin. Beyond that, this film has as much to do with Poe as does the average movie in which someone inherits a wily, diaper-wearing ape that solves a crime.
I’m guessing child protection agencies today would cringe at the thought of a wee sprout staying up until two or three in the morning just so he can thrill as Boris Karloff lurks in some shadows or Vincent Price bugs out his eyes at some fantastic and horrible sight. But for you Teleport City readers, such behavior should be par for the course, and I figure it’s healthier than watching realty television, where there is just as much family dysfunction but far fewer werewolves. The first AIP horror films I remember seeing were Cry of the Banshee and The Terror. I would see Cry of the Banshee pop up once every couple of years, and then when I got cable television, The Terror seemed to pop up every other night. Cry of the Banshee I first saw on a wildly enjoyable night that also boasted broadcast of the Hammer version of The Hound of the Baskervilles and Darby O’Gill and the Little People, from back when children’s movies used to be fun and imaginative and sometimes even dark, scary, and not filled with sassy pre-teens driving go-carts and having sleepovers. instead, they had drunks dancing jigs and Sean Connery punching people in the face.
In 1960, American International Picture’s “house” director Roger Corman convinced the notoriously cheap movie studio to pony up a little extra time and money (and color film) to produce Corman’s attempt to capture the lush Gothic atmosphere of a Hammer horror film. Against their thrifty nature, the studio relented, allowing the ambitious and inventive director a staggering fourteen days to make Fall of the House of Usher. The resulting film, a landmark in American horror, is a necessarily narrowly focused affair — there are only four characters — but it’s a fantastic accomplishment. The quick turn-around time and low budget is hardly evident. Every frame is stuffed with decaying Gothic opulence and vibrant color, and the talky nature and slow pace of the film never causes the narrative to drag, thanks almost entirely to the brilliant and tortured performance by Vincent Price. AIP’s risky (for them) investment paid off. The film was a hit, and audiences used to seeing cheap black and white horror were dazzled by this sudden explosion of color and quality. When the dollars started pouring in, AIP gave the go-ahead to Corman for another film in the same vein. And another. And thus was born what’s known as AIP’s Poe Cycle, a series of consistently high-quality horror films based (extremely loosely at times) on the writing of Edgar Allan Poe (and, in one case, H.P. Lovecraft, but they sold it as Poe).
In 1960, AIP’s go-to director for cheap, quickly produced science fiction and horror double bills convinced the powers that be to gamble on letting him make a stand-alone film, in color, with double the production time and more money. Granted that, compared to other studios, this still meant an incredibly lean budget and an incredibly short production schedule. The result was Roger Corman’s Fall of the House of Usher, a landmark film in the history of American horror and one of the best Gothic horror films from any country. Although more sedate and slower paced, finally the United States had an answer to the wild, Technicolor horror films from England’s Hammer Studio.
After the runaway success of Fall of the House of Usher and Pit and the Pendulum, Corman was growing dissatisfied with his AIP contract. He had proven to be a profitable director, and now he was a critically acclaimed director as well. His two films had more or less single-handedly lifted the reputation of AIP out of the realm of the drive-in circuit and established them as a genuine studio that made genuine movies with genuine class. Corman’s two Poe films also lifted the flagging reputation of horror, which since its heyday at Universal during the 1930s had sunk lower and lower until it was basically considered schlock, then almost replaced entirely by science-fiction and Communist paranoia films. Hammer’s Horror of Dracula and Curse of Frankenstein had gone a long way to revitalizing the horror genre, but Corman’s Poe films undoubtedly contributed a great deal to solidifying the resuscitation, at broad but especially in the United States where theater owners were proud to see that yep, we could make ’em just as good here as they could over there.
In 1960, American International Pictures – well-known for being a low-budget film production house possessed of some genuine talent – released The Fall of the House of Usher. It was something entirely new for the company: a color picture, released by itself instead of as part of a black and white double-feature package as was standard operating procedure for AIP. Director Roger Corman, one of the studio’s most valuable assets, had pushed for AIP to extend their usual shooting schedule (from ten days to fifteen!) and shoot the film in color. AIP was wary, but Corman had proven his ability to deliver profitable results for the company over and over, so after hearing his pitch, they were willing to give the benefit of the doubt to his risky venture. With Corman as director, Vincent Price as the star, and Egdar Allan Poe as the source material, it seemed like it would be a decent enough success.
So this is the one that started it all, so to speak, so long as you consider “it all” to be the first cycle of films based, sometimes extremely loosely, on the works of Edgar Allen Poe, and directed by low-budget legend Roger Corman. Prior to this film, Corman had made a name for himself slapping together drive-in quickies while Price had become a beloved horror film icon working with William Castle. Film production company AIP had specialized primarily in black-and-white genre pictures, made two at a time with ten-day shooting schedules. Everyone came together for this historic meeting of elements that remains, to this day, one of the best examples of American-made gothic horror films. Corman’s Poe films for American International Pictures became to the United States what Hammer films were in England: low budget, wonderfully acted, gorgeously designed horror films dripping with atmosphere and literary tradition. It was Corman’s first picture in scope, and one of AIP’s first color films to be sold as an individual movie rather than as part of a package. It also had an extended shooting schedule – a whopping fifteen days as opposed to ten.