HOUSE OF USHER is probably the best of all the Edgar Allen Poe stories that VINCENT PRICE did under Roger Corman's direction. It's an elaborate looking production, handsomely photographed and looks far more expensive than the actual budget allowed. Especially good is the climactic fire scene showing fierce destruction of the house.
As Roderick Usher, Price brings his regal bearing and distinguished presence to an interesting role and gets good support from MYRNA FAHEY as Madeline Usher and MARK DAMON. As others have pointed out, filmed before and since--but never as effectively as Corman does here.
Filmed in widescreen CinemaScope, it loses something if you see it in the pan and scan version on TV. This was at a time when Corman was doing a lot of inexpensive B&W horror films without the benefit of color and expensive trappings. He made the most of a plum assignment.
The story has a young man arriving at the Usher Victorian mansion to announce that he wants to marry Madeline, Usher's sister who, it seems, is too ill to see him at the moment. Usher resists the idea that the man will ever marry his sister--indicating that the family is tainted with madness. The young man is determined to stay and suffer whatever consequences there are. As a dedicated servant, Bristol, HARRY ELLERBE gives a convincing performance as a man conflicted by his loyalties.
And, of course, there are plenty of consequences when Roderick makes it clear that the man will not leave with his sister for a life in Boston. As is clear from Roderick's explanation of the pall of evil that hangs over the house, it's inevitable that the story reaches a climax that destroys all of the evil before it can spread like a plague.
It's Gothic Victorian melodrama in the grand manner--played to the hilt by Price and some good supporting performances. Well done, for this kind of thing.
As Roderick Usher, Price brings his regal bearing and distinguished presence to an interesting role and gets good support from MYRNA FAHEY as Madeline Usher and MARK DAMON. As others have pointed out, filmed before and since--but never as effectively as Corman does here.
Filmed in widescreen CinemaScope, it loses something if you see it in the pan and scan version on TV. This was at a time when Corman was doing a lot of inexpensive B&W horror films without the benefit of color and expensive trappings. He made the most of a plum assignment.
The story has a young man arriving at the Usher Victorian mansion to announce that he wants to marry Madeline, Usher's sister who, it seems, is too ill to see him at the moment. Usher resists the idea that the man will ever marry his sister--indicating that the family is tainted with madness. The young man is determined to stay and suffer whatever consequences there are. As a dedicated servant, Bristol, HARRY ELLERBE gives a convincing performance as a man conflicted by his loyalties.
And, of course, there are plenty of consequences when Roderick makes it clear that the man will not leave with his sister for a life in Boston. As is clear from Roderick's explanation of the pall of evil that hangs over the house, it's inevitable that the story reaches a climax that destroys all of the evil before it can spread like a plague.
It's Gothic Victorian melodrama in the grand manner--played to the hilt by Price and some good supporting performances. Well done, for this kind of thing.