Night 9: Roger Corman Memorial Night/Vincent Price Night
“This isn’t a house. It’s a madman’s palace.”
It’s not Shocktober without Vincent Price and here Price and legendary producer-director Roger Corman, who passed away earlier this year at the age of 98, take on the unfilmable eldritch horrors of H.P Lovecraft in The Haunted Palace. If you’re thinking that The Haunted Palace is an Edgar Allen Poe poem and not a Lovecraft story, you are correct. By 1963 Corman and Price had made several Poe adaptations, with varying degrees of success, including House of Usher, The Pit and the Pendulum, three Poe stories in the anthology Tales of Terror, The Raven and Corman wanted to tackle new material. Corman’s investors were hesitant for him to stop making Poe adaptations, so the compromise was that he would adapt another American horror author, H.P. Lovecraft, but the title would be taken from an Edgar Allen Poe poem, which Price recites excerpts of to justify the title. So, the title was taken from Poe’s The Haunted Palace and the plot was taken from H.P. Lovecraft’s The Case of Charles Dexter Ward. The result is a Roger Corman/Vincent Price movie that checks all the right boxes, yet in some ways is darker than their previous collaborations.
The story opens in colonial New England with villagers capturing and burning Joseph Curwen, a warlock attempting to summon dark, evil forces. Before Curwen is burned, he puts a curse on the village of Arkham (a frequent setting for Lovecraft). 110 years later, presumably some non-specific decade of the 19th century, Charles Dexter Ward, a descendant of Curwen, and his wife Ann arrive in Arkham after Charles inherits the old Curwen castle. They do not receive a warm welcome from the villagers and are told either to avoid the castle or leave Arkham altogether. Of course, the castle comes with a creepy caretaker (Lon Chaney, Jr), as spooky castles often do. Charles becomes possessed by the spirit of his evil ancestor and once in control of Charles’s body, Curwen returns to his work of using the Necronomicon to summon the dark Elder Gods.
Unlike in The Pit and the Pendulum there is no young hero to duel with Price. Instead, Price gets to duel with himself as Charles and Curwen fight for control of his body. Price goes from sinister to sympathetic easily and believably. When he’s Curwen his skin takes on a greenish-yellow hue that no one seems to notice, but even without the makeup it would be easy to tell when he is Charles and when he is Curwen. It is great to see Price play both the villain and the hero in the same role. Curwen is a dark and evil character with a horrendous plan—Price’s darkest role would come a few years later as the real-life “witch hunter” Matthew Hopkins in Witchfinder General.
The setting may be Arkham and the source material may be Lovecraft but The Haunted Palace has all the hallmarks of a Corman-Poe adaptation: period setting, vibrant period costumes, low cut gowns for the women, foggy exteriors, lightening, characters with torches, and a spacious gothic location with secret chambers and passageways. The main difference with this movie is that it is more sinister than you might expect. The curse Curwen puts on the village manifests itself as deformities (like being born with no eyes) in the village children. Also, Curwen’s plan to summon the Elder Gods involves mating humans with the monstrous, otherworldly beings.
My friend and podcast co-host Bryan Connolly and I had an in-depth review and discussion of The Haunted Palace as part of our series on Francis Ford Coppola (episode 20, Coppola Cast #2), who at the time in 1963 was Roger Corman’s “ace assistant." Like all the better Corman-Price movies, this is a spooky but not scary movie that still has great entertainment value. Nearly everything looks fake and artificial but that is part of the charm and atmosphere of the movie. Corman is presenting a tale of the fantastic so any noticeable artifice, even stiff acting or over acting, only enhances its storybook/campfire tone.
The Haunted Palace is streaming for free on Tubi.
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