TOMB OF LIGEIA (1964): Roger Corman’s Swan Song Envisions Poe As Emily Bronte

TOMB OF LIGEIA is the eighth and final entry in Roger Corman’s cycle of movies based on the works of Edgar Allan Poe that were made between 1960 and 1964. It is unlike any of the others in that TOMB uses a number of actual locations as opposed to being shot entirely on a soundstage. This enhances Corman’s concept of the movie as Gothic romance in the manner of the Bronte sisters rather than a straight out horror film. There is justification in this as Poe was a 19th century writer as were the Brontes and their dates are remarkably similar. His were 1809-1849 while Emily’s were 1818-1848 and Charlotte’s were 1816-1855. Emily wrote WUTHERING HEIGHTS in 1847 while Charlotte’s JANE EYRE was written the same year. Elements of both can be found in Robert Towne’s screenplay for LIGEIA which Poe wrote in 1838. Towne is best known for his doomed Hollywood romance CHINATOWN (1974). TOMB OF LIGEIA (1964) was his first screenplay.

Corman began incorporating different themes into his last two Poe pictures, both of which were made in England. The first, MASQUE OF THE RED DEATH delved into existentialism and Medieval allegory which is pretty far removed from Poe (and yet it is the critical favorite) whereas the Gothic romance approached in TOMB suits Poe perfectly. The original story deals with an opium addicted narrator who remarries after the death of his first wife, Ligeia, He and the second wife, Rowena, move to a decaying abbey yet the narrator remains obsessed with Ligeia. Rowena, oppressed by the abbey’s gloomy atmosphere gradually sickens and dies. Before she can be buried, her shroud begins to move and from it emerges not Rowena but Ligeia. While remaining remarkably faithful to Poe’s original story, director Corman and screenwriter Towne open it up by adding additional material that expands the story and turn LIGEIA into a Gothic romance.

The movie opens with Price’s Verden Fell (Poe’s narrator has no name) attending his wife Ligeia’s funeral. Authorities don’t want her buried in the local abbey churchyard because she was an atheist. Shortly afterwards Fell meets Lady Rowena Travanion, the daughter of a local aristocrat, and though Fell is cold to her, she falls in love with him much to the surprise of her current suitor who is also Verdun’s friend. She and Fell marry, move into the abbey which his late wife had owned, and then strange things begin to happen. Just where does her husband go at night? Why does he not remember? What does the old family servant know but refuse to tell? During a demonstration of hypnosis, Rowena speaks in a voice that isn’t hers. Determined to find answers, Rowena explores the abbey and eventually discovers something truly horrifying. Csn her former suitor save her from the diabolical goings on or will he be too late? 

Neither Corman nor Towne wanted Vincent Price for the lead as they felt that at 53, he was too old for the role. The actor they had envisioned was Richard Chamberlain. However American International Pictures, who had financed the previous 7 Poe films, insisted on Price and in the end  AIP was right. With the proper wig, costumes and makeup, Price is the perfect older 19th century gentleman and no one could deliver the literary style dialogue the way he does. Joining him are a fine cast of British character actors and the celebrated English stage and TV actress Elizabeth Shepherd (28 at the time) as both Rowena and Ligeia. The principal location used was the 12th century monastery Castle Acre Priory and surrounding grounds (which are a tourist attraction today) and to add a touch of British horror film authenticity, the cinematographer was Hammer Films’ long time cameraman, Arthur Grant who does his customary fine job.

I saw TOMB OF LIGEIA in January of 1965 when it first played in American theaters. I was 12 at the time and had seen 2 of the previous Poe movies which I had enjoyed very much. The previous summer, my family and I had gone to Europe and spent the first few weeks in England. Imagine my surprise when I discovered that I had visited the very same abbey that was used as the movie’s principal location. I was disappointed with TOMB at the time. I wanted more of a traditional horror movie and was puzzled and a little bored with the romance angle although the flamboyant ending almost made up for it. I didn’t see it again until 30 years later when it first came out on home video. I enjoyed it a lot more that time around but didn’t make the Poe-Bronte connection. Having recently watched it on Blu-ray, what Corman and Towne were attempting to do became quite clear and I applaud them for it. Too bad others didn’t and TOMB became the last film in the Poe cycle.