Tag Archives: peter lorre

Comedy of Terrors (1963): A Macabre Comedy with Mixed Results

28 Sunday Jul 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , , , ,

In 1963, director Jacques Tourneur, known for his masterful work in horror classics like Cat People and I Walked with a Zombie, ventured into the realm of macabre comedy with Comedy of Terrors. With a stellar cast featuring Vincent Price, Peter Lorre, Boris Karloff, Joyce Jameson, Joe E. Brown, Beverly Powers, and Basil Rathbone, the film had all the ingredients for a standout success. Despite these great collaborators, the results were mixed, serving up a middle-of-the-road affair.

Tourneur’s direction is one of the film’s highlights. His ability to blend horror and comedy is evident throughout, as he deftly balances the eerie atmosphere with moments of dark humor. The film’s Gothic aesthetic, combined with Tourneur’s knack for creating suspense, provides a visually engaging experience. However, even his expertise couldn’t entirely elevate the uneven script.

The cast is undoubtedly the film’s strongest asset. Vincent Price, in particular, shines as the unscrupulous undertaker Waldo Trumbull. His performance is delightfully over-the-top, capturing the character’s malevolence and wit with equal flair. Peter Lorre, as the downtrodden assistant Felix Gillie, complements Price perfectly, bringing a touch of pathos to the comedic duo.

Boris Karloff, as the senile Amos Hinchley, provides a charming performance that showcases his versatility beyond the typical horror roles he’s known for. Basil Rathbone, playing the perpetually “dying” Mr. Black, adds a layer of sophistication and humor, particularly with his repeated recitations of Shakespearean lines. Joyce Jameson, Joe E. Brown, and Beverly Powers round out the cast, each delivering solid performances that contribute to the film’s quirky charm.

Despite the impressive cast and Tourneur’s direction, Comedy of Terrors struggles with an inconsistent tone and pacing. The script, while filled with witty dialogue and humorous situations, sometimes feels disjointed, leading to a film that doesn’t quite know whether it wants to lean more into horror or comedy. This indecisiveness hampers the overall impact, resulting in a film that feels middling rather than memorable.

The macabre humor, while effective in parts, doesn’t always hit the mark. Some jokes land perfectly, eliciting genuine laughs, while others fall flat, leaving a sense of missed potential. The film’s structure, relying heavily on repetitive gags, can become tiresome, diluting the effectiveness of the comedy.

In retrospect, Comedy of Terrors is a film that showcases the immense talent of its cast and director but ultimately delivers mixed results. The collaboration of such legendary figures in the horror and comedy genres should have resulted in a classic, yet the film remains a curious blend of brilliance and mediocrity. It’s a testament to the performers’ skills that even in a middle-of-the-road affair, their charisma and talent shine through.

For fans of the genre and the actors involved, Comedy of Terrors offers enough moments of enjoyment to warrant a viewing. It stands as a fascinating, if flawed, entry in the filmographies of those who worked on it, providing a glimpse of what could have been a standout macabre comedy with a bit more refinement.

  • Saul Muerte

1960s Retrospective: The Raven (1963)

28 Friday Jun 2024

Posted by in Uncategorized

≈ Leave a comment

Tags

, , , , ,

The Raven (1963), directed by Roger Corman and starring Vincent Price, Peter Lorre, and Boris Karloff, is a curious entry in the canon of horror cinema. Loosely based on Edgar Allan Poe’s famous poem, the film diverges significantly from its source material, embracing a blend of horror and comedy that is both unique and peculiar. This retrospective review will explore the film’s psychological elements, the hammy delivery of its cast, and its execution within the horror genre.

At its core, The Raven leverages the psychological unease inherent in Poe’s poem, transforming it into a narrative driven by themes of loss, vengeance, and the supernatural. The film opens with Dr. Erasmus Craven (Vincent Price) mourning the death of his wife Lenore, only to be visited by a talking raven that is actually the transformed Dr. Bedlo (Peter Lorre). This initial setup delves into Craven’s grief and the torment of his memories, echoing the psychological torment that is a hallmark of Poe’s work.

However, as the plot unfolds, the psychological depth gives way to a more whimsical and fantastical storyline. The film’s psychological tension, while present, is often overshadowed by its campier elements. Craven’s internal struggle with his wife’s memory and his confrontation with the necromancer Dr. Scarabus (Boris Karloff) hint at deeper fears of powerlessness and betrayal, yet these themes are not explored with the same gravity found in more traditional horror films.

The performances in The Raven are emblematic of a specific type of theatricality that defines much of Corman’s work. Vincent Price, with his distinctive voice and expressive mannerisms, delivers a performance that is both grandiose and self-aware. His portrayal of Craven is tinged with a knowing wink to the audience, acknowledging the absurdity of the situation while fully committing to the character’s emotional stakes.

Peter Lorre’s Dr. Bedlo provides a counterpoint to Price’s Craven, with a performance that leans heavily into the comedic aspects of his character. Lorre’s physical comedy and his interactions with Price add a layer of levity to the film, balancing the darker themes with humor.

Boris Karloff’s Scarabus is a classic villain, portrayed with a melodramatic flair that fits perfectly within the film’s tone. Karloff’s presence brings a sense of gravitas and menace, yet his performance is also marked by a certain playfulness, particularly in the climactic magical duel with Price’s Craven.

The Raven occupies an unusual space within the horror genre. While it incorporates elements of horror—such as necromancy, transformation, and gothic settings—it does so in a manner that is more whimsical than terrifying. The film’s horror is tinged with a sense of fun, as evidenced by the elaborate, almost cartoonish magical duel and the playful banter between characters.

The film’s execution reflects Roger Corman’s ability to blend genres and tones, creating a piece that is as much a comedy as it is a horror film. The sets and costumes are richly detailed, contributing to the gothic atmosphere, but the overall tone is light-hearted. This approach makes The Raven an outlier in the horror genre, more akin to a dark fantasy or a parody than a traditional horror film.

The Prognosis:

The Raven (1963) stands as a testament to the versatility and charisma of its lead actors and the unique vision of its director. While it may not deliver the psychological intensity or pure horror that one might expect from a film inspired by Edgar Allan Poe, it offers an entertaining blend of horror and comedy. The hammy delivery of its cast, particularly the performances of Vincent Price, Peter Lorre, and Boris Karloff, adds to its charm, making it a memorable and enjoyable film within the horror-comedy subgenre. For fans of classic horror with a twist, The Raven remains a delightful and intriguing watch.

  • Saul Muerte

“Masterful Macabre: Exploring Roger Corman’s ‘Tales of Terror’ Through the Lens of its Stellar Ensemble Cast”

15 Saturday Jun 2024

Posted by in retrospective

≈ Leave a comment

Tags

, , , , , ,

“Tales of Terror” is a gem in Roger Corman’s filmography, showcasing his adeptness at adapting Edgar Allan Poe’s stories for the screen while also spotlighting a fantastic ensemble cast, the film consists of three separate segments, each based on a different Poe story.

The first segment, “Morella,” follows a man who returns to his ancestral home, only to be haunted by the ghost of his deceased wife. The second segment, “The Black Cat,” centers on a drunken man who becomes increasingly obsessed with his wife’s black cat, leading to tragic consequences. Finally, the third segment, “The Case of M. Valdemar,” tells the story of a mesmerist who experiments with hypnotizing a dying man, with horrifying results.

Throughout these tales of terror, themes of guilt, obsession, and the supernatural are explored, with each segment offering its own unique blend of horror and suspense. The film is notable for its atmospheric cinematography, eerie score, and, of course, its exceptional ensemble cast, which includes horror icon Vincent Price, among others. “Tales of Terror” remains a classic example of Corman’s mastery of the horror genre and his ability to bring Poe’s macabre tales to vivid life on the screen.

Vincent Price, a frequent collaborator with Corman and a master of Gothic horror, delivers a tour-de-force performance in each of the three segments that make up the anthology film. His ability to inhabit a range of characters, from the tragic to the macabre, adds depth and nuance to the storytelling.

Joining Price are esteemed actors such as Peter Lorre and Basil Rathbone, both of whom leave an indelible mark on their respective segments. Lorre’s trademark blend of humor and pathos infuses his portrayal with a sense of whimsy, while Rathbone’s commanding presence lends an air of gravitas to the proceedings.

Additionally, the film benefits from the contributions of actresses like Debra Paget and Joyce Jameson, who bring a sense of vulnerability and strength to their roles. Their performances add layers of complexity to the characters they portray, enriching the thematic depth of the stories.

Furthermore, the ensemble cast enhances the sense of camaraderie and collaboration that permeates the film. Each actor plays off of the others with seamless chemistry, creating a dynamic and engaging viewing experience for audiences.

In “Tales of Terror,” Roger Corman demonstrates his knack for assembling talent both in front of and behind the camera. The ensemble cast elevates the material, breathing life into Poe’s tales of horror and suspense with their captivating performances. Their collective contributions ensure that each segment of the film resonates with audiences long after the credits roll.

  • Saul Muerte