Edgar Allan Poe Movies

In this gory horror movie one of society's pariahs finds the will to live when he receives the tender, innocent affections of a young girl. Unfortunately, she dies. The man refuses to let go and so engineers a replacement. Blood and gore ensues. ~ Sandra Brennan, Rovi

This low-budget Mexican production (originally produced for television) is a tepid but fairly accurate adaptation of Edgar Allan Poe's tale, set during the Civil War. The story involves a young woman haunted by the vengeful spirit of a young bride, whose soul had been trapped for decades within the woman's portrait (painted by her insane husband). The occasionally rich period atmosphere is flattened almost completely by sluggish pacing, badly-dubbed (and equally dull) dialogue, and an insolvent ending which may lead the viewer to believe the filmmakers have lost a few pages of Poe's original text. The entire affair plays like one of Roger Corman's Poe adaptations -- albeit staged without humor, style or verve. ~ Cavett Binion, Rovi

The fourth film to explore Edgar Allan Poe's classic tale, this clever adaptation takes some rather broad liberties with the source material. A flamboyant Jason Robards plays Cesar Charron, owner of a Grand Guignol theatre in 19th-century Paris, who is launching a stage adaptation of "Murders in the Rue Morgue" -- much to the dismay of his young daughter Madeleine (Christine Kaufmann), who is tormented by nightmares filled with images from the play. A spate of gruesome murders among the theatre's regular stable of actors leads Charron to suspect the return of his deranged, disfigured former partner René Marot (Herbert Lom), who had been presumed dead after the murder of Charron's wife. Madeleine's nightmares eventually come true when Marot makes his presence known and reveals his intentions to her on the eve of the production's opening night. Director Gordon Hessler's creative handling of the dreams-vs.reality premise is rendered a bit confusing thanks to AIP's sloppy re-editing, but the overall production is still effectively chilling. ~ Cavett Binion, Rovi

This German language film is said to be loosely based on a story by Edgar Allen Poe. It is difficult to say, as there is no story to be discerned in this non-stop pastiche, heavy with symbolism but with no other distinguishing features. It was, however, a German entry in the 1971 Cannes Film Festival. ~ Clarke Fountain, Rovi

When Sir Edward Markham (Alastair Williamson) is horribly disfigured by African natives, he is kept chained and out of sight by his brother Julian (Vincent Price). When Sir Edward escapes, he goes on a killing spree in a desperate attempt to get even with the society that has made him a monstrous outcast. Julian enlists the help of African witch doctor N'Galo (Harry Baird) for medicine to make Sir Edward appear dead so he can be evicted from the house. Dr. Neuhardt (Christopher Lee) attempts to help the hideous human. There are plenty of female corpses around to drip rivers of fresh, hot blood in this feature, the 13th Edgar Allan Poe story in which Price has appeared. ~ Dan Pavlides, Rovi

Just the thing for spooky Halloween-night viewing, this good-looking German film from director Harald Reinl tells the story of the horrible Count Regula (Christopher Lee), who murdered a dozen virgins and drained their blood. For these heinous crimes, he was sentenced to be drawn and quartered. Thirty-five years later, his undead servant resurrects him for revenge and a 13th victim (pretty Karin Dor), whose blood will give Regula eternal life. Lex Barker (a former movie Tarzan) plays the descendant of the man who sentenced Regula to death and has the task of stopping him, aided by Dor's maid and a highwayman disguised as a monk. Some chilling visuals (a haunted forest with corpses growing out of trees, swarms of vultures in the castle corridors, the obligatory pendulum) and assorted creepy crawlies (pits of snakes, spiders and scorpions) make this a real old-fashioned scare-fest, and it is not too bloody for horror-hungry children. Very loosely based on Edgar Allen Poe's Pit and the Pendulum, this film delivers on its promise to frighten, although the badly-dubbed U.S. version is to be avoided. ~ Robert Firsching, Rovi

In the early- to mid-1960s, the University of Michigan shipped out several half-hour TV series to local stations. The best of these included The Plays of Shakespeare, The Inquiring Mind and a group of programs spotlighting the Interlochen Youth Camp. Likewise well produced (and well received) was American Story Classics, in which famous short stories were dramatized, then analyzed. Edgar Allen Poe's The Cask of Amontillado, a chilling tale of infidelity, drunkenness, and "premature burial", was one such story. In its own humble way, this adaptation of Cask is every bit as entertaining as the one incorporated into Roger Corman's 1962 omnibus theatrical feature Tales of Terror. ~ Hal Erickson, Rovi

Once again Vincent Price stars for director Roger Corman in The Tomb of Ligeia, the last of Corman's eight Edgar Allen Poe adaptations, a film graced by a script by Robert Towne and moody cinematography by Nicolas Roeg. Price has the creepy lead role of Verden Fell. In 1821, when Verden's wife Ligeia (Elizabeth Shepherd) dies, she is buried in a churchyard, despite the parson's objections that she can't be buried there since she isn't a Christian. Before the grave is closed, abetted by the screech of a black cat, Ligeia eyes shoot open, startling Verden, who becomes convinced that she is not dead. Months later, Lady Rowena (also played by Shepherd) is thrown from her horse and lands at the foot of Ligeia's grave. Verden tends to her and soon falls in love with her. They marry and move into Verden's gloomy Gothic abbey, where Rowena begins to have strange dreams involving Ligeia and a black cat. One night she awakens to discover a dead fox in her bed. When Ligeia's grave is exhumed, instead of Ligeia's corpse, a wax figure is discovered. Then Rowena finds, to her horror, Verden in the arms of his dead wife in a hidden room of the abbey. Having hypnotized Verden before she died, Ligeia had Verden convinced she will live forever. Verden, now possessed by the spirit of his dead wife, takes a torch to the abbey, trapping himself and Rowena in the flaming conflagration. But Christopher (John Westbrook), an admirer of Rowena, endeavors to rescue Rowena from the flames. ~ Paul Brenner, Rovi

Although Roger Corman narrowly managed to avoid self-mockery in his pulpy, flamboyant adaptations of Edgar Allan Poe tales, it appears that the director chose this opportunity to let loose with outright parody; the result is a wonderfully entertaining romp with tongue planted firmly in cheek. The first screen teaming of legendary horror stars Boris Karloff, Vincent Price, and Peter Lorre -- later billed as "The Triumvirate of Terror" -- this so-called "adaptation" uses Poe's most famous poem as a springboard for Grand Guignol comedy from scriptwriter Richard Matheson. Melancholy magician Erasmus Craven (Price), having recently relinquished his membership in the Brotherhood of Sorcerers after the apparent death of his wife Lenore (Hazel Court), is paid a visit by a foul-mouthed talking raven, claiming to be small-time wizard Adolphus Bedlo (Lorre). After some persuasion, Craven returns Bedlo to human form, reversing a spell placed by the evil Dr. Scarabus (Karloff), Craven's chief rival. After learning that a woman bearing a strong likeness to Lenore was seen in the Doctor's company, Craven accompanies Bedlo to Scarabus' castle, where the resulting battle of wills escalates into all-out magical warfare between the two embittered sorcerers. Corman and company relished the opportunity to poke fun at the staid Poe series, and the distinguished leads contribute to the spirit of fun by lampooning their own cinematic reputations. Fans of Jack Nicholson (who cut his acting teeth on this and other AIP productions) should enjoy his melodramatic performance here as Bedlo's straight-arrow son; Nicholson would later co-star with Karloff in Corman's The Terror, which was shot in two days using the same sets! ~ Cavett Binion, Rovi

Roger Corman's success with low-budget adaptations of Edgar Allan Poe tales continued with this third installment, the first to lack the commanding presence of Vincent Price. Instead, we have Ray Milland as tormented protagonist Guy Carrell, who is so traumatized by the death of his father -- whom he believes was entombed alive after suffering a cataleptic attack -- that he becomes convinced that he will meet a similar demise. Guy's mounting dementia rapidly undermines his recent marriage to the lovely Emily (Hazel Court), particularly after he begins the construction of a specially designed crypt rigged with numerous escape devices. Encouraged by Emily to face his fears, Guy decides to view his father's remains, to prove once and for all whether he died peacefully. When the crypt is opened, however, what he finds there is so horrifying that he succumbs to a cataleptic episode himself, which doctors misdiagnose as a fatal heart attack... and Guy's worst fear soon becomes a reality. Milland's performance conveys the requisite amount of hand-wringing torment (in the mode of The Lost Weekend), even if he fails to capture the manic intensity that Price brought to the other Poe films. Corman's deft direction, employing a rich palette of colors and superb widescreen compositions, is on a par with the series' finest installments. ~ Cavett Binion, Rovi

Horror tale inspired by the classic Edgar Allan Poe story, in which a writer fantasizes murdering his friend over a beautiful woman, and then hearing the dead man's heart continuing to beat. (Alternate title: The Hidden Room Of 1,000 Horrors) ~ Nicole Gagne, Rovi