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Pit and the Pendulum (1961)

 -  Horror  -  12 August 1961 (USA)
7.1
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Ratings: 7.1/10 from 7,290 users  
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Francis Barnard goes to Spain, when he hears his sister Elizabeth has died. Her husband Nicholas Medina, the son of the brutest torturer of the Spanish Inquisition, tells him she has died ... See full summary »

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Title: Pit and the Pendulum (1961)

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Cast

Complete credited cast:
...
...
Francis Barnard
...
Elizabeth Barnard Medina
...
Catherine Medina
Antony Carbone ...
Doctor Charles Leon
Patrick Westwood ...
Maximillian
Lynette Bernay ...
Maria (as Lynne Bernay)
Larry Turner ...
Mary Menzies ...
Isabella
Charles Victor ...
Bartolome
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Storyline

Francis Barnard goes to Spain, when he hears his sister Elizabeth has died. Her husband Nicholas Medina, the son of the brutest torturer of the Spanish Inquisition, tells him she has died of a blood disease, but Francis finds this hard to believe. After some investigating he finds out that it was extreme fear that was fatal to his sister and that she may have been buried alive! Strange things then start to happen in the Medina castle. Written by Leon Wolters <wolters@strw.LeidenUniv.nl>

Plot Summary | Add Synopsis

Taglines:

She was enslaved by evil in a terror haunted castle. See more »

Genres:

Horror

Certificate:

Approved | See all certifications »
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Details

Official Sites:

Country:

Language:

Release Date:

12 August 1961 (USA)  »

Also Known As:

Edgar Allan Poe's Pit and the Pendulum  »

Filming Locations:

 »

Box Office

Budget:

$200,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

(Ryder Sound Services)

Color:

(Pathécolor)

Aspect Ratio:

2.35 : 1
See  »
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Did You Know?

Trivia

This was the second of Roger Corman's "Poe" films. He had intended to do "The Masque of the Red Death" but felt that it was too close to the content of Ingmar Bergman's recent The Seventh Seal (1957) (US title: "The Seventh Seal"). Several years later Corman would go to England to make The Masque of the Red Death (1964). See more »

Goofs

When Nicholas pretends to be dead, Elizabeth talks to him and moves his head towards her. In the next shot she moves his head again to same position. See more »

Quotes

[last lines]
Catherine: No one shall ever enter this room again.
See more »

Connections

Featured in Son of Svengoolie: Pit and the Pendulum (1961) (1979) See more »

Frequently Asked Questions

See more (Spoiler Alert!) »

User Reviews

 
Perhaps the finest Corman & Price collaboration.
24 December 2005 | by (England) – See all my reviews

Following the sudden death of his sister, Francis Barnard (John Kerr) travels to Spain to question her husband, Don Nicholas Medina (Vincent Price), son of a notoriously barbaric Inquisitor. Medina openly mourns the death of his wife but Barnard is unconvinced by his story and is determined to discover the truth.

Proceeding from 'The Fall of the House of Usher' (1960), director Roger Corman's second film in his now-famous cycle of Edgar Allan Poe adaptations was this delightfully lurid and lavish offering that can at once be both repugnant and resplendent. 'Pit and the Pendulum' is a uniquely and profoundly visual experience. Dazzling colour and abhorrent darkness coalesce to invoke the most unpleasant aura of trepidation. The luxuriant cinematography of Floyd D. Crosby coupled with the artistic eye of Corman merge eminently, ensuring that mood and atmosphere remain constant and that the viewer feels the agony of the events depicted on-screen. Furthermore, Richard Matheson's screenplay is both intelligent and eloquent and Corman makes full use of what he is gifted here. The pacing of the film is superb, constantly moving onwards, never lingering too long and remaining thoroughly enthralling throughout. Truly this film is perfect in presentation and direction.

Sadly, there are imperfections in the performances of the cast, most notably John Kerr whose continually wooden, dull and tepid acting is too explicit for a leading role. Similarly, while the linguistical talents of Vincent Price lend themselves to an almost Shakespearean delivery of his lines, he occasionally allows himself to sink into ham-acting which detracts somewhat from the more serious nature of the film. However, minus these minor distractions, the performances of the cast are more than adequate to support what is in essence a strongly visceral experience. Luanne Anders and Anthony Carbone offer masterful performances in their supporting roles and cult-favourite, Barbara Steele, makes short appearances as Medina's deceased wife.

If the Corman/Price collaborations are to horror what the Scorsese/De Niro collaborations be to drama then this may well be Corman's 'Goodfellas'. A sublime entry into the genre that offers numerous thrills and chills, inherent beauty and one of the strongest screenplays to grace Sixties horror cinema. What few flaws that there are cannot truly undermine the hard work that went into making this magnificent horror film.


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