The knowledge of terror is vouchsafed only to the precious few.
Roger Corman's penultimate Poe picture was 1964's The Masque of the Red Death, easily the most sumptuous film he ever made. Written by Charles Beaumont and R. Wright Campbell, it also gave Vincent Price one of his meatiest roles as the decadent Prince Prospero, an avowed Satanist who locks himself away in his castle with dozens of equally loathsome courtiers while the Red Death ravages the countryside. Joining him in the service of Satan is Hazel Court, who seems all too eager to give herself over to the Prince of Darkness, and fighting against Price's corrupting influence is innocent believer Jane Asher, who pleads with him to spare the lives of her lover (David Weston) and father (Nigel Green), who are intended to fight each other to the death for the amusement of Price's guests. In terms of depravity, though, Price may be matched by the leering nobleman played by Patrick Magee with all the malevolence he can muster. (Little surprise, then, that he went on to play the Marquis de Sade in Peter Brook's Marat/Sade just three years later.)
All of the films in Corman's Poe cycle are known for their lavish visuals and this one benefited greatly from the work of cinematographer Nicolas Roeg and production designer Daniel Haller. The most striking image in the film, though, is one of its simplest: the faceless personification of the Red Death sitting leaning against a tree dealing out tarot cards. Not only does it bring to mind Ingmar Bergman's The Seventh Seal (an admitted influence), but it's an eerie depiction of the implacability and inevitability of death. Not even Prince Prospero, with all his wealth and power and influence, can escape that forever.
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