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.