The Fall of the House of Usher - A look back

Steve Withers

Reviewer
One of the most celebrated, visually sensual and alluringly doom-laden series of horror films came courtesy of Roger Corman’s outstanding love affair with the tales of Edgar Allan Poe. A fan of these dark tales of dementia, jealousy and death since a child, he longed to be able to bring them to the screen and to project their dark magic upon audiences who had become saturated with atomic-mutated insects and brain-sucking saucer-men. After a slew of low-budget quickies that appealed to the Drive-in teen market he appealed to AIP that if he was awarded double the funds, he could create one sumptuous gothic horror film in colour and in widescreen and provide audiences with the sort of the jolt that had very recently been proved valid, potent and, most importantly, profitable for Hammer Films, who had singlehandedly brought such lavish and literary adaptations to gaudy, gory acclaim on both sides of the Atlantic.

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