Tag Archives: American International Pictures

Retrospective: The Pit and the Pendulum (1961)

12 Thursday Aug 2021

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When Roger Corman and Vincent Price teamed up to work on an Edgar Allan Poe adaptation of The House of Usher in 1960, it ignited a series of films inspired by the American writer of the macabre, such was the success of the film. The second venture however, entitled The Pit and the Pendulum would bear little resemblance to Poe’s short novella with the exception of the final act which featured the titular pendulum and pit.

Price would as usual bring another of his deliciously macabre and melodramatic performances that he had become known for. In this instance Price plays Nicholas Medina, whose wife Elizabeth (Barbara Steele) has mysteriously disappeared. It is through Elizabeth’s brother Francis (John Kerr) from which the story is told when he travels to Medina’s abode in Spain to find out what has become of his sister. Upon arrival he learns from Medina and through a local physician, Dr. Leon (Antony Carbone) that his sister has supposedly died of fright, due to her morbid fascination with the torture chamber beneath the castle, a leftover from the days of the Spanish Inquisition. The story does not ring true however and Francis becomes hellbent on uncovering the truth.

Corman with the aid of screenwriter Richard Matheson (I Am Legend) weave together a delightfully melancholic tale that embodies Poe’s unconsciousness through a psychological disintegration of the human psyche. The destruction of Medina’s mind and the mask of sanity that slowly falls is maginficientally portrayed by Price. And the supporting cast lift this larger than life fantasy to deliver an apt climax, ticking all the boxes that makes this era of filmmaking so great to revisit.

The effect would prove a financial success for American International Pictures (AIP) and would carve the formula for Corman and Price with further adaptations of Poe’s work. The Pit and the Pendulum would also have a significant impact on future filmmakers, most notably Antonio Marghereti’s Web of the Spider and Mario Bava’s The Whip and the Body, as such it’s an important keystone in the realms of gothic horror films.

  • Saul Muerte

Retrospective: Konga (1961)

21 Wednesday Jul 2021

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Now I’m as much a fan of B-Movie horror films as the next guy and am not averse to the cheap budget and effects on show. If anything I welcome the discrepancies of these kinds of movies, not afraid to show its flaws which almost become a character in the film.

Konga was something of a passion project for American producer Herman Cohen, the man responsible for the successful 1957 feature I Was A Teenage Werewolf, and was keen to unite this idea with a colour version of King Kong, hence why the production was initially going to be called I Was A Teenage Gorilla. The chance would come when American International Pictures would collaborate with Anglo Amalgamated to work on an exploitation film together.

The problem I have with Konga is that it relies too heavily on the premise and both character and plot are neglected. There’s not a lot that British veteran Michael Gough can bring to the film to lift it out of this quagmire of a poorly written script. It is a little too familiar and formulaic to resonate in any way.

Gough would play Dr. Charles Decker, a man who has survived living in a remote part of Africa, believed to have died, and through his study of botany has come across an amazing discovery where he can grow animals and plants to an enormous size. Gough slips easily into the magnanimous scientist role and projects the God-like narcissist manner of a man, who believes he is greater than all he encounters.
This characteristic is heightened when he is able to use a serum that turns a chimpanzee into a ferocious gorilla, and when anyone crosses his path, has a perfect killing animal at his will.

Of course things inevitably go awry when love intervenes, and Decker persues one of his students, Sandra (Claire Gordon) which ignites jealousy from his colleague, Margaret (Margo Johns). Margaret then enacts revenge by injecting the chimpanzee with a huge dose of the serum, transforming the ape into Kong-like proportions and carnage ensues.

There is no hiding the flaws though, especially when you have a man dressed up as a giant-sized gorilla supposedly bringing the house down. 

Mark this down as a curious entry into the horror scene and one that doesn’t necessarily hit the right points and takes a big plunge off Big Ben into obscurity.

  • Saul Muerte