In this tongue-in-cheek movie inspired by Poe's poem, Dr. Craven is the son of a great sorcerer (now dead) who was once himself quite skilled at that profession, but has since abandoned it. One evening, a cowardly fool of a magician named Bedlo comes to Craven for help - the evil Scarabus has turned him into a raven and he needs someone to change him back. He also tells the reluctant wizard that Craven's long-lost wife Lenore, whom he loved greatly and thought dead, is living with the despised Scarabus.Written by
Ken Yousten <email@example.com>
Strings attached to the chair Vincent Price is sitting on are clearly visible at the end of the chair flying scene. See more »
[to the raven]
Are you some dark-winged messenger from beyond? Answer me, monster, tell me truly! Shall I ever hold again the radiant maiden whom the angels call Lenore?
[as the raven]
How the hell should I know? What am I, a fortune teller?, Ooh, I'm chilled to the bones, why don't you get me some wine... well just don't stand there gaping at me!
That voice... I
Will you give me some wine?
[offering him a chalice]
Here's some nice hot milk.
Milk? How vomitable!
[...] See more »
One version has the climactic wizard duel without the rotoscoped bolts of magic. See more »
During the 15th century, an evil sorcerer (Boris Karloff) lures his arch rival (Vincent Price) to a lonely castle where they fight a magical duel to the death.
Handsomely mounted on some of the most lavish sets ever created for AIP's Poe series, THE RAVEN toplines Price, Karloff and Peter Lorre for the first time in their careers, alongside a very young Jack Nicholson (making the most of a juvenile supporting role). Richard Matheson's clever script turns the faux seriousness of earlier Poe pictures on its head, countering Price's overwrought histrionics with a series of rude rejoinders from Lorre, who relishes his role as a cowardly magician whose divided loyalties place everyone around him in danger. Price and Karloff are worthy adversaries, and their climactic duel is one of the most celebrated set-pieces in horror movie history, despite some fairly obvious trick-work. Floyd Crosby's expansive cinematography and Daniel Haller's 'olde worlde' art direction conspire to render a suitably Gothic atmosphere, though the movie derives most of its strength from the quality of its dialogue and performances. Directed by Roger Corman.
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