Das Grab der Lygeia (1964)

Das Grab der Lygeia: Directed by Roger Corman. With Vincent Price, Elizabeth Shepherd, John Westbrook, Derek Francis. A man’s obsession with his dead wife drives a wedge between him and his new bride.

“There is an assumption among movie fans that the longer a movie series exists, the worse the later films will be. Although the films Roger Corman made of some of the stories of Edgar Allan Poe began well and continued with no obvious sense of decline, it is my opinion that the best was kept for last. The most overtly spectacular film in the series was u0026#39;The Masque of the Red Deathu0026#39; with its fine sense of colour and effective sense of homage to Ingmar Bergmanu0026#39;s u0026#39;The Seventh Sealu0026#39;. I have always enjoyed this film and in terms of a deliberate departure from the series norm, it is exceptional. However one enjoys any series for the familiar as well as the unusual, and in this respect u0026#39;The Tomb of Ligeiau0026#39; is the most memorable for me in the way it builds upon and enhances what has gone on in previous films. The logical departure from the previous films which had been (very happily and effectively) studio-bound, was to move to location. Cormanu0026#39;s choice of Castle Acre Priory in Norfolk, was an inspired one. An large amount of location filming was done there and this grounded the film in a realistic (yet unusual)setting. Gone were the fog machines and u0026#39;blasted heathu0026#39; effects of u0026#39;House of Usheru0026#39; and u0026#39;The Premature Burialu0026#39;. Many critics have mentioned their disquiet at the absence of Barbara Steele, at that time undoubtedly the actress most associated with this type of picture. Wonderful though Miss Steele was in, say, the last thirty minutes of u0026#39;The Pit and the Pendulumu0026#39;, I feel that the presence of the English actress, Elizabeth Sheppard, adds to the sense of realisim, while taking little away from the shock effect of one actress playing both a good and an evil role. Roger Corman is on record as saying that he had to keep a written record as to when Rowena was herself and when she was Ligeia. All I can say that it is happily obvious on the screen when each side of the romantic coin is in evidence. I think that Elizabeth Sheppardu0026#39;s performance, grounded in reason, and when added to the inevitable polish that was being obtained by this stage in the series, showed a welcome extra sense of belief, to point out the advances and progression that had been made by this, the last film, in the series. Two scenes stand out : the entrapment of Rowena in the bell tower by the black cat (representing Ligeia.) I am also very impressed by Rowenau0026#39;s hynotism ; first to her own childhood and then to the persona of Ligeia. This film has not been available for viewing in the UK for many years. It is to be hoped that this situation will be reversed before long. I remember with affection the moment when great talents (from both sides of the u0026#39;pondu0026#39;) collaborated with great effcetiveness to come up with the ultimate u0026#39;Corman Classicu0026#39;.”