User reviews

"The Tomb of Ligeia" was one of a cycle of films made by Roger Corman in the sixties based on the works of Edgar Allen Poe. Verden Fell, an English country gentleman of the 1820s has become obsessed with his dead wife Ligeia. Indeed, although she has been buried in a tomb he built for her, he believes that she is not dead but has, as she promised she would, survived death in some form and will return to him. This obsession survives Fell's remarriage to Rowena, the daughter of a neighbouring landowner. Indeed, his obsession worsens, as he comes to believe that Rowena is possessed by Ligeia's spirit.

This is an unusual horror film in that much of it takes place not only outdoors but also in daylight. The sort of images of ruin and decay traditional in horror films- Fell lives in a gloomy, crumbling, cobwebbed manor house close to the ruins of a mediaeval abbey- are contrasted with sunlit scenes of the beautiful, verdant English countryside. The difference between life and death is the central idea of the film- which ends with a quote from Poe himself: "The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends and where the other begins"- so this contrast is possibly symbolic, with the outdoor scenes symbolising life and the indoor ones death. The two main female characters (both played by the same actress, Elizabeth Shepherd) are differentiated in a similar manner. Rowena is a healthy-looking, "English Rose" type blonde with a love of outdoor pursuits, especially hunting. Ligeia is dark haired and gaunt with an unhealthy pallor.

Like many films of this period, and unlike later films such as "The Exorcist", this is an example of an understated horror film, with the horror mostly being implied rather than shown directly. Ligeia makes an appearance in the film, but we are never sure whether this is really her ghost returning from the grave or a hallucination conjured up by Fell's distraught mind. Although it is understated, however, it is genuinely frightening, not because of Exorcist-style special effects, but because of the eerie mood that Corman is able to create. Apart from the atmospheric setting, various objects take on a sinister significance- a bunch of flowers, a dead fox and, most of all, a mysterious, malevolent black cat which may be the reincarnation of Ligeia's soul, or may be just a cat.

The acting is also very good, especially from Shepherd in the dual role of Rowena/Ligeia and from Vincent Price as Fell. In a way this is also a dual role, as there are two separate aspects to Fell's character. On the one hand he is sinister and frightening, the man who threatens Rowena's happiness, her sanity and even her life. (The adjective "fell" significantly means cruel or fierce). On the other hand he is a pitiable character, a victim of his own obsessions and (possibly) also of his late wife's ghost. This duality is very much in keeping with the mood of the film, which is one of ambiguity and doubt. As befits one based upon the work of Poe, it is a tale of mystery and imagination. 7/10

The genius of Edgar Allan Poe lies in his ability to create atmosphere and to draw us in with the power of his magically evocative language. As not a great deal happens in his stories and his characters are thinly drawn, film adaptors feel obliged to invent, expand, elaborate and embellish and this, the last of Roger Corman's versions of Poe, is certainly no exception. The liberties taken and the additions made by Robert Towne are too numerous to mention and include mesmerism and a hint of necrophilia!

The major change is that the marriage between Verden Fell and his second wife, Lady Rowena, is based upon love and not mutual loathing. Their characters have been fleshed out in the forms of Vincent Price as Fell and the lovely Elizabeth Shepherd as Rowena. Unfortunately Mr. Price's persona and air of mystery are unable to compensate for the fact that he is simply too long in the tooth for the role whilst Rowena's freedom of spirit and sensuality make her overpowering attraction to him faintly ludicrous. It is of course highly unlikely that the film would have received financial backing had Mr. Price not been in it.

As one has come to expect from Mr. Corman this film has excellent production values and art direction and is aided by a strong supporting cast.

Poe died in comparative poverty but his works have supplied a framework by which film-makers have enriched themselves. Mr. Corman especially has helped keep Poe's name alive but one must never lose sight of the original stories which remain, of their type, unparalleled.

"Ligeia" is one of my very favorite E.A. Poe stories, a masterpiece of suspense that doesn't reveal its secret until the very last word. Like a lot of Poe's stories, however, the transformation to the screen isn't always an easy one. A great deal of the action in the short story takes place in the narrator's head, and to make a feature length movie out of it there must be some added action and characters.

The screenwriter here, Robert Towne, would go on to bigger and better things and garner fame and awards while doing it. But this early script of his is a rather modest one. The action drags more and more as the film goes on and the sense of horror and tension dissipates rather than builds as the film progresses. Plus there's that annoying black cat (left over from another Poe story, perhaps?)

What points this movie does get are for style. Roger Corman wasn't a schlock director by any means; he had a great eye and and gave his films a distinctive look and feel. The cast is a very good one as well. Vincent Price does the usual fine job we expect from him and I liked actress Elizabeth Shepard as the Lady Rowena, Price's wife who succeeds Ligeia. I wasn't familiar with her before seeing this movie and I found her very watchable. But 'The Tomb of Ligeia' is hardly classic Poe or a memorable horror film. But fans of Corman and the Hammer Films type of productions may want to see it.

I was asked recently if I could name any genuinely scary films made before The Exorcist in 1973. The only titles I could come up with were Rosemary's Baby and Night of the Living Dead from the late '60s. I could suggest many horror titles made before 1970, but none were genuinely flesh-crawling enough to make the list. At the time, I had not seen The Tomb of Ligeia. Now I have seen it and, wow! This is one seriously under-rated gem.

It is one of the many Roger Corman films from this era based on an Edgar Allan Poe story. Intelligently scripted by Robert Towne, and acted to perfection by Vincent Price and Elisabeth Shepherd, this film is a treat from start to finish. Shepherd plays a well-to-do lady in Victorian England who falls in love with a mysterious loner (Price) who resides in a crumbling abbey and seems haunted by memories of his previous (now-dead) wife Ligeia. She marries Price, but her chances of love are blighted by spooky happenings which may be the work of the ghost of his jealous ex-bride.

The dream sequence, featuring a dead fox hidden in a bouquet of flowers and a terrifying metamorphosis midway through a passionate kiss, is a marvellous and memorable scene. All scenes featuring the weird black cat are eerily effective. There's also a wonderfully creepy hypnotism episode. The photography is lovely, with colourful outdoor lensing of a real English abbey and superb blending of light and shadows during the ghostly indoor sequences.

So, if you're after a truly spine-tingling film from before 1970 - here you go!

At one point in this film Vincent Price says 'Christopher, not ten minutes ago I tried to kill a stray cat with a cabbage'. Now, I think that is a pretty good reason alone to watch this movie but if that's not enough for you well, its another Roger Corman gothic horror starring Vincent the magnificent, based loosely on an Edgar Allen Poe story. There's nice sets and locations, lush cinematography, an above average script and Price doing what he does best, as well as vegetable-based violence directed at felines.

One of the Roger Corman/Vincent Price 'Poe collaborations', based on Poe's short story Ligeia. Price plays Verden Fell, a man who believes himself haunted by the spirit of his dead wife. When Fell remarries, his new wife also feels Ligeia's presence - which she believes is trying to kill her. Ultimately, Fell must face Ligeia - whether real, or just a manifestation of his obsession - and purge her from his life.

Price is on form. Elizabeth Shepherd does well in the dual roles of Ligeia and new wife, Rowena. Filmed in England, several British character actors (Derek Francis, Richard Vernon, Frank Thornton) make welcome appearances, and Castle Acre Priory in Norfolk serves as a picturesque and atmospheric location. Corman's direction is tight, maintaining an underlying sense of unease, building to a fiery climax. 7/10.

Amidst a crumbling castle in 19th century England, a widowed aristocrat (Vincent Price) mourns his wife, but quickly develops a new romantic relationship after meeting the forceful Rowena (Elizabeth Shepherd). Yet the soul of Ligeia seems to be haunting the estate and the apparently mesmerized Baron is hiding something.

Released in late 1964, "The Tomb of Ligeia" is Gothic horror based on the Edgar Allan Poe story from 1838 (which was revised in 1845 with the addition of his 1843 poem "The Conqueror Worm," written by the character Ligeia). This was the last of Roger Corman's eight Poe films from 1960-1964, which all made money but this one made the least, possibly because the quasi-series had run its course and the story was overly complicated. Nevertheless, Corman considered it one of the best of the lot.

Since the original tale was so short, scriptwriter Robert Towne incorporated elements from other Poe stories, such as the black cat, mesmerism and a hint of necrophilia. The talky story isn't as compelling as Corman's "The Terror" (1963) or even "The Masque of the Red Death" (1964). It's rather boring for the first hour, but there's an effectively creepy payoff in the last act, which ties everything together. Like those previous two films, the sumptuous Gothic ambiance is worth the price of admission and the inclusion of Stonehenge is a highlight. You just have to acclimate to the dated drama-focused goings-on.

The movie runs 1 hour, 22 minutes and was shot at Shepperton Studios, just west of London, and Castle Acre Priory north of Swaffham, as well as other spots in England, such as Stonehenge, Polesden Lacey and Polzeath, Cornwall, at the southwest tip of Britain (the beach scene).

GRADE: B-/C+

Well, at least for a little while! His last of eight Poe films as director is (loosely) based on the Poe work of the same name and is a solid metaphorical ghost story. Lady Rowena (the wonderful Elizabeth Shepherd) falls in love with Verden Fell (Vincent Price) despite his strange behavior and questionable past. Soon after their marriage, he starts disappearing, she's menaced by that old Poe stand-by (the evil black cat) and plagued by horrific nightmares involving Verden's deceased former wife Ligeia (also played by Shepherd), whose ghost seems intent on ruining the union. Price, in top hat and strange sunglasses in many scenes (his vision being "dangerously acute"), seems a bit too old for the role, but still manages to come through with an effective performance. Corman has always been underrated for effectively capturing period detail on a limited budget and it's his keen eye for the crumbling ruins, lush green countrysides, oceanfronts and shadowy castle corridors that make much of this film work. Screenplay by future Oscar-winner Robert Towne (CHINATOWN). LIGEIA was Corman's last horror film as director until 1990's FRANKENSTEIN UNBOUND.

I came to this movie after watching two earlier Roger Corman / Vincent Price Gothic-style chillers, based on the works of Edgar Allen Poe, the very good "Pit And The Pendulum" and classic "The Masque Of The Red Death". This in fact was the last of six collaborations between director and actor and perhaps it was the right decision on the evidence here.

Despite having some memorable moments, "The Tomb Of Ligeia" definitely shows signs of sag. The subject of live interment had been done better in "Pit...", the sight of an attractive woman in flowing robes wandering around a haunted mansion was a feature of "Masque..." and of course even Price's turn as a disturbed lord of the manor was starting to pall at this stage.

Set in the U.K. countryside with a largely British cast, the film takes quite a while to really get going with most of the action crammed into the last half hour or so. The strange, eye-catching scenes mentioned above include a nightmarish transformation of a bouquet of white flowers to a bloody fox, and Elizabeth Shepherd's Lady Rowena pouring blue candle wax onto her evening meal.

Price, for once without facial hair and sporting a short haircut too is this time at less than his best as the widower Verden Fell still obsessed with the death of his first wife and the rest of the cast struggle to compensate. I'm no cat lover so the apparent possession of a black cat by Mrs Fell the first for much of the film didn't much excite me either. The unoriginal ending with everything going up in flames yet again brought to a close a rather underwhelming feature not quite up to the standard of previous Poe-derived films made by Corman and starring Price.

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 'The Masque of the Red Death' with its fine sense of colour and effective sense of homage to Ingmar Bergman's 'The Seventh Seal'. 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 'The Tomb of Ligeia' 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. Corman'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 'blasted heath' effects of 'House of Usher' and 'The Premature Burial'. 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 'The Pit and the Pendulum', 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 Sheppard'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 Rowena'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 'pond') collaborated with great effcetiveness to come up with the ultimate 'Corman Classic'.

Verden Fell (Vincent Price) buries his beloved late wife Ligeia (Elizabeth Shepherd) but she is refused a Christian burial. Later, he finds beautiful Lady Rowena (Elizabeth Shepherd) thrown off her horse onto Ligeia's grave. A black cat happens to be at both incidences. He had become a recluse and his eyes are troubled by bright lights.

It's a Roger Corman film. It's the last of his Edgar Allan Poe films with his cohort Price. There is something here. The basic story has good horror potential but non of it gets to the point of being scary. I like the exterior ruins. The large mansion interior also has potential but again, it's not fully realized. I would let it be completely rundown and covered up when Verden first meet Rowena. As she cleans it up, it becomes a home again but that's when the cat can cause havoc. The cat is interesting and I can see a modern movie making more out of it. Vincent is over-acting for all he's worth. I can see the potential for a great horror here.

These Poe adaptations by Roger Corman are always fun. Vincent Price is a hoot in this one. As is the case with most of these protagonist, he is in perpetual agony. Here he has over sensitive eyes (in other films, it is his hearing). He frequently visits the tomb of his late wife, Ligeia. She was a raven haired beauty who led him by the nose. There is something strange about the tomb and about her death. Enter a pretty blonde lady of a chance taking spirit. For some reason she falls in love with this nut. He is spooky and almost strangles her at one point. But she is determined. The problem is that she is in competition with the dead ex. An issue I have with this film is how rambling the ending is. It goes on for the longest time. Obviously, it is about transmigration. By the way, what's with the fire that happens to be burning in the house. Is it a big fireplace or did I miss something? Anyway, it is always a pleasure to observe the perpetually pained Price mug and emote for the camera.

If you want to know why Ligeia is the most Hammer-esque of Roger Corman's Poe adaptations, check cinematographer Arthur Grant's records, among them The Devil Rides Out and Frankenstein Must Be Destroyed. The splendid photography alone makes the last entry in the series a standout, along with Kenneth V. Jones's lush, pseudo-Victorian score. Enter Corman/ Poe regular Vincent Price, this time an amateur egyptologist living in a decaying abbey mourning his deceased ex and soon after falling in love with a blonde lookalike of his dead spouse – who acts out her jealousy in feline form. All-too-conscious of not being in a Poe story, but in a delirium fusion of Vertigo and Rebecca, Price plays his perv Maxim de Winter/ Norfolk Necrophiliac role with a tongue-in-cheek aplomb Laurence Olivier garnered not until eight years later in Joseph L. Mankiewicz's Sleuth, and wait until Vince gets in cat chasing mood. Though a bit convoluted, Ligeia is morbid, meow & kinky fun, actually Corman's last noteworthy movie as a director (next was his racist swastika biker dreck The Wild Angels). And the darn critter? Moved on to Mario Bava, Lucio Fulci and Dario Argento flicks. That's called Hello Kitty déjà-vu.

A disturbing widower : Vincent Price is deranged by the curse of his dead wife . Things get worse when he marries again to a beautiful woman : Elizabeth Shepherd . As his wife is mercilessly besieged and lured by a black cat which plays such a vital part in its disentanglement .

Shot in England , this was Roger Corman's last Poe-inspired film , and considered to be one of the most subtle and atmospheric outings in the series . Vincent Price gives a very good acting , as always , as the widower driven to madness by the curse of his previous wife . This is a finely macabre Edgar Allan Poe retelling with chills , frightening events , gloomy gothic atmosphere, twists and turns , and anything else . It's very literate , intelligent and well-paced , it is not only faithful to original , but adding its own conclusion . Corman made a generally impressive Edgar Allan Poe cycle with Vincent Price leading in most the other entries in the series . It packs a colorful and brilliant cinematography by Nicolas Roeg on the sets left over from Peter Glenville's Beckett . The interesting script was by Robert Towne who went on writing Chinatown.

The motion picture was well made by Roger Corman, being his second movie in Great Britain and final in the successful Corman series . This famous producer and filmmaker directed lots of films in all kinds of genres , outstanding in Edgar Allan Poe cyclr and other terror pictures , such as : "The Fall of the House of Usher" , "The Pit and the Pendulum" , "Tales of Terror" , "The Raven" , "The Terror", "The Haunted Palace", "Tower of London" , "Masque of the Red Death" , "Tomb of Ligeia" , "Frankenstein Unbound" , among others . Rating : Better than average , being a minor classic of its genre . The flick will appeal to Vincent Price fans. Well worth watching .

Very fine Poe adaptation. I had always reckoned Masque of the Red Death, from the same period to be far superior, but not so. Viewed again this is very well put together, especially the first half, which is really only setting the scene for the Poe tale to be told. Not quite as stylish as the aforementioned film, this is still, nevertheless, possessed of a very strong dream like quality and builds scarily as doors rattle, animals squawk and the inevitable black cat scrambles, leaps and screeches. Wonderful setting of Castle Acre Priory helps give the film greater authenticity and Corman mixes the Shepperton Studio interiors well with the beautiful Norfolk countryside and the marvellous grandiose priory remains. I don't know why the tomb of the title had to be so shining white and new looking but never mind, a really good Corman outing with excellent performances from Price and the leading lady Elizabeth Shepherd, who regrettably seems to have otherwise worked almost exclusively in television. She has real presence here in a double role successfully mixing the seductiveness of Lady Rowena and the satanic steel of Ligeia.

Roger Corman's last Edgar Allan Poe adaptation, filmed in England this uses some superb Gothic sets and locations, most notably an ancient abbey in Norfolk (Stonehenge does gets a brief scene too). Excellent cast, Vincent Price, with his dark glasses, hams it up delightfully as ever. The movie looks fantastic on Blu-ray, every scene is a joy to the eyes. What lets it down for me, to some extent, is that it is a little on the slow side and also I found it somewhat low on horror (at least compared to the previous adaptations). Much of the plot takes place in the day rather than at night. A black cat features throughout and this tale is more black cat than The Black Cat. Ligeia is far from my favourite in the series however it is still a good slice of colourful Gothic horror/melodrama.

This was another one of Vincent Price's movies that I just only now have had the fortune chance of watching.

"The Tomb of Ligeia" was a very slow paced story that seemed somewhat incoherent. Granted, I haven't read the Poe story, so how true the movie was to the book I have no idea.

The characters were somewhat devoid of characteristics, personalities and appeal, and most were ones that you hardly took a liking to.

"The Tomb of Ligeia" is definitely not the best of movies that rose in the horror genre in the mid 1960s, and it is hardly one of the more outstanding of Vincent Price movies.

"Tomb of Ligeia" was the last of Corman's popular Edgar Allan Poe adaptations of the 60's. Because of how it's totally different in style from the previous entries in the series, many have deemed it as an inferior effort, though I personally think it's the total opposite. There's no doubt in my view that "Ligeia" is Corman's finest Poe adaptation. All the flaws present in his earlier films (even in the more well praised "Masque of the Red Death"), that have become even more visible with aging, have served as a lesson as to what not to do, and are thankfully not present here. The most effective change was the change of setting. Instead of using painted backdrops posing and excessive sound stage interiors posing as European settings, this one was actually filmed on-location in the British countryside, with studio indoors scenes kept to a minimum. The gorgeously photographed exterior locations, with the dark and imposing ruins clashing against the peaceful, idyllic nature surroundings, add immensely to the film's brooding Gothic atmosphere, and it's a real shame it wasn't used more often in other films of the same period. Not since Jean Epstein's haunting "Fall of the House of Usher" in 1928, has Poe's style been so faithfully adapted to the silver screen. This is mostly due to Corman's stylish and original direction, an intelligent script by Robert Towne (of "Chinatown" fame) and to Vincent Price's acting. Without resorting to over-the-top melodramatic gestures (as seen in 1961's "Pit and the Pendulum"), Price plays to perfection a suave, mysterious, eerily seductive and haunted lead - the ultimate Poe lead, and one of his best performances, up there with his work in "Witchfinder General". Elizabeth Sheppard, whom you might remember as the doomed journalist from "Damien: Omen II", is equally effective as the female lead, both as Ligeia and Lady Rowena. As Rowena, Sheppard doesn't go for your typical 'damsel in distress' performance as it could've been, and plays as a much stronger willed, not so innocent, independent, yet likable character. Though her role as creepy raven-haired Ligeia has less screen time, she does manage to leave an impression, and manages to be genuinely creepy. Another bonus is the surreal dream sequence that happens somewhere in the middle of the film. A trademark Corman treat, this scene is filled with vivid colors, brilliantly otherworldly camera-work and bizarre, nightmarish imagery, it's one of the film's scariest moments, and also one of the director's most memorable set pieces. Also, I love the subtly creepy and disturbingly poetic approach Towne and Corman take at the controversial necrophilia subplot. This subject matter would get an equally elegant treatment 10 years later in Mario Bava's "Lisa and the Devil". The film's flaws come basically from the final confrontation between Price and Sheppard, which comes back as a more typical Corman-ending-to-a-Poe-film, coming off as a bit anti-climatic, considering how much build up there was it. Nevertheless, it's fun and stylish, even if it's slightly campy tone doesn't match the otherwise seriousness of all that came after. Overall, an exquisite Gothic gem from the 60's, and essential viewing for fans of the genre. Even if you're not a fan of the director's work, do check it out, as it might as well come off as a pleasant surprise. 9.5/10

In Victorian England Verden Fell (Vincent Price) is obsessed with his dead wife Ligeia. He meets and falls in love with Rowena (Elizabeth Shepherd). She helps him get over his obsession and they get married. But it seems Ligeia's evil spirit is alive and refuses to let Verden go...

The last of Roger Corman's Edgar Allan Poe series starring Vincent Price. It's beautifully filmed in England and has some beautiful settings--but (like the rest of the Poe series) nothing really happens. It's a 30 minute movie stretched out to 90 minutes. To pad the movie there are countless times Verden goes on and on about Leiga; Rowena has at least TWO long, pointless dream sequences and she also walks around the spooky house at night a number of times.

What prevents this from being totally boring is the cinematography, the acting by Price and Shepherd (both are great), beautiful costumes and sets, a few nice shock cuts and a very lively ending. But really-nothing happens until the end. Still this is worth seeing for horror fans. And, for a Roger Corman film, this is pretty restrained.

I suppose this is as much psychological thriller as horror by modern standards, given that there is no real horror - either physical or mental - to speak of. Price is the husband of Ligeia, the woman who loved life so much she refused to accept her own death when it became inevitable and swore she would always be his wife. Given baggage like this, the fact that he wanders around in shades that would be cool today but that are decidedly odd for Victorian England and lives in a cobwebby old abbey it's a bit of a surprise that Lady Rowena falls for him so quickly. Mind you, he does attempt to kill the cat that has clawed her with a cabbage, so he obviously has some good points (I know that sentence doesn't read correctly but it's late and I can't be bothered to re-write. Just take it as read that Tiddles didn't claw her with a cabbage, OK? Thanks).

Frivolity aside - and the more films I see the more inclined I am to be frivolous about them - Roger Corman's final Poe adaptation is quite handsomely mounted considering its modest budget. It's plot unfolds at a stately pace typical of the era in which it was filmed (which means the majority of people under 25 will find it too difficult to stick with). Price is about 15 years too old for his role but gives a pretty good account of himself, while Elisabeth Shepherd manages to keep the annoyance quotient of her character down to a manageable level.

One point I was curious about was what was going on in that opulently furnished hall behind the mirror. Ligeia lying on that bed in her black nightgown, her arms extended as if to greet a lover - or to beseech his return. Was Corman really suggesting necrophilia?