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In the extra on my Blu-ray of the film, director Hessler states he was upset with Jason Robards' performance in the title role and laments he didn't get to inherit Vincent Price as the film's star when he was asked to direct it. In watching, I quite agree that as fine an actor as Robards was, his heart wasn't in horror and thus his tone is off here. Still, Herbert Lom is great as the antagonist and there are many enjoyable wonders to behold. I strongly feel that had Price acted in Robards' place, this film would have joined the fine string of minor masterpieces Price starred in during that purple patch of his career.
_**Poe mixed with Phantom of the Opera**_ At a Grand Guignol-like theater in turn-of-the-century Paris a troupe is beset by a shadowy acid killer. Jason Robards plays the director/actor, Christine Kaufmann his young wife, Lilli Palmer her mother, Herbert Lom a mysterious stalker, Michael Dunn a dubious dwarf and Adolfo Celi the inspector. “Murders in the Rue Morgue” (1971) is not a film version of Edgar Allan Poe’s story, which the viewer is keyed-off to right away with the revelation that the play featured at the theater _IS_ Poe’s “Murders in the Rue Morgan.” The director & writer decided to do something different because Poe’s story was so well known. This movie has more to do with “Phantom of the Opera.” Once you accept that, you can enjoy this AIP flick as a colorful Hammer-like Victorian horror similar to their Dracula or Frankenstein movies, albeit with a different “monster.” The ending features a twist that I found unconvincing, but at least it’s unexpected and shakes things up. Robards is relatively dull as the protagonist, which explains why he wanted Lom’s role. The part called for someone of Vincent Price’s magnetism. The original version of the film runs 1 hour, 38 minutes, which is the version I viewed. Eleven minutes were unfortunately cut for the US debut, which included the removal of sequences from the end of the film, e.g. a lot of Lilli Palmer’s scenes. Director Gordon Hessler objected to these edits, as well as the tinting of the flashback scenes on the grounds that the idea was NOT to tint them so that viewers wouldn't know when they’re seeing a dream sequence or perhaps a flashback or a flash-forward, which hadn't been done before. The movie was shot in Toledo and Madrid, Spain. GRADE: C/C+
Society matron Mrs. Livingston Baldwin Crane is selected as a juror in the trial of former chorus girl Yvette Gordon, who's accused of murdering her rich older husband. In court and during deliberations, Mrs. Crane proves to be a disruptive and unorthodox juror.
Cops and a reporter attempt to capture a mysterious killer plaguing the city.
Herbie, the Volkswagen Beetle with a mind of its own, is racing in the Monte Carlo Rally. But thieves have hidden a cache of stolen diamonds in Herbie's gas tank, and are now trying to get them back.
Erroll Babbage has spent his career tracking sex offenders and his unorthodox methods are nearly as brutal as the criminals he monitors. When he links one of his deranged parolees to the disappearance of a local girl, he and his new partner must scour the S&M underground to find her before it's too late.
A nerdy film student and lifelong voyeur begins to believe that two lovely young strangers may have conspired to commit a brutal murder.
A lonely teenage horror-movie fan discovers a mysterious computer game that uses hypnosis to custom-tailor the game into the most terrifying experience imaginable. When he emerges from the hypnotic trance he is horrified to find evidence that the brutal murder depicted in the game actually happened - and he's the killer.
Alyssa (Lana Boy) follows her artistic aspirations to Los Angeles, leaving behind her husband Luka (Emmanuel Berthelot), who promises to join her later. The pandemic-induced lockdowns force them apart, straining their relationship until the couple decides it’s best to separate. Upon returning to Paris to finalize her divorce, Alyssa finds herself engulfed in her past life with Luka and old friends, all of which have moved on. She starts to question whether she was selfish to leave her past life behind in pursuit of career goals. Should she have been happy with the “little life” she left behind? Could she have been?
In the darkly phantasmagorical world of the carnival magician and sideshow hypnotist, the gruesome "illusions" of Montag the Magnificent are unique in that they seem to become retroactive reality long after the the tricks are done. Is it coincidence, or circumstantial evidence of the world's most diabolically ingenious murders? When an underground journalist begins to investigate the strange deaths, the truth proves to be far more bizarre and disturbing than anything he or his readers might have imagined.
A virus spreads through an office complex causing white collar workers to act out their worst impulses.