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 »
The evil Prince Prosperois riding through the Catania village when he sees that the peasants are dying of Red Death plague. Prospero asks to burn down the village and he is offended by the villagers Gino and his father-in-law Ludovico. He decides to kill them, but Gino's wife, the young and beautiful Francesca, begs for the lives of her husband and her father and Prospero brings them alive to his castle expecting to corrupt Francesca. Propero worships Satan and invites his noble friends to stay in his castle that is a shelter of depravity against the plague. When Prospero invites his guests to attend a masked ball, he sees a red hooded stranger and he believes that Satan himself has attended his party. But soon he learns who his mysterious guest is. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
Over two miles of corridors were built in sections spreading over three sound-stages for Jane Asher to run through while she was held captive. See more »
Towards the end of the movie before Prospero sees the man in red, you see a blond woman dancing from left to right, the frame then jumps and the blond woman is once again on the left without having walked by. See more »
Possibly the best of the Roger Corman-Vincent Price series of film adaptations of the stories of Edgar Allen Poe, 'The Masque of the Red Death' is a chilling and malevolent tale of decadent devil-worshippers holed up in a castle while the Red Death claims its victims in the village outside.
Vincent Price was a gloriously hammy actor who played horror roles with the utmost seriousness. His characterization of Prince Prospero in this movie is brilliant - a man without a soul or heart who is only conquered when a girl of equal faith enters his castle (the wooden Jane Asher as Francesca). In support Hazel Court as the would-be Bride of Satan Juliana, and Patrick Magee as the corrupt Alfredo are particularly worthy of note.
The dwarf's revenge on Alfredo during the masque is as chilling as anything which came before in films such as 1932's 'Freaks'; while the film shimmers with beautiful cinematography (especially the coloured rooms) and simmers with corruption. The combined effect is superb and makes the film a memorable experience.
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