Cubussoli Very very predictable, including the post credit scene !!!

Mjeteconer Just perfect...

Pluskylang Great Film overall

CrawlerChunky In truth, there is barely enough story here to make a film.

mark.waltz Poor Vincent Price. Always a widower, never at peace with his dead wife looking over his shoulder, ready to pounce like a Fruma Sarah. Elizabeth Shepherd gets the privilege of being both good and evil, blonde and brunette, and possibly going in between life and death as fast as the black cat prowling Price's castle howls or hisses. As usual, Price is a brooding Heathcliff/Maxim de Winter type character, not outwardly evil, but with Price you never can be too sure. He is desperately afraid of sunlight so he wears the strangest looking sunglasses in film history. Like any good well-bred English countryside neighbor, Shepherd's "Lady Rowena" is gallivanting across Price's property (which seems to have belonged to his late wife Ligeia, not Price), and after falling right atop Ligeia's grave, she encounters the dour Price and a rather strange relationship begins between the two. It's obvious from hints Price's character gives that Ligeia would never allow him to re-marry, so when they do, it's no surprise that legal ramifications make the marriage not recognized by the law. The angry black cat doesn't like Rowena either, violently attacking Shepherd and growling at her every chance it gets. This soon leads to a showdown between wife #2, the furious feline and whatever is lingering in the middle-ages like castle of Ligeia's evil spirit.Slow moving, moody but romantic, this never fully explains what Ligeia was supposed to be in life. Witch? Devil worshiper? Succubus? The audience is left to decide, but one thing we are instantly aware of is that this isn't going to be a happy relationship between Price and wife #2. John Westbrook is present as Rowena's admirer/protector who comes to Shepherd's rescue on a number of occasions. Shepherd has a dream of husband/cat/first wife that is part horrific nightmare, somewhat comical, and definitely a sign to me that her first response would be to get as far away as you can as fast as possible. Encounters between Shepherd and the cat are very frightening, and those who love cats will be very disturbed by Price's reaction to this creature who definitely represents evil. Like other American International/Vincent Price/Roger Corman/Edgar Allan Poe Gothic horror tales, this depends a lot on the wrath of fire to conclude its story. It isn't one I would watch again over and over (missing the humor and camp element of "The Pit and the Pendulum" and "The House of Usher") but it is definitely one that will leave you with a few chills.

gkeith_1 10/10, although my favorite movies are song and dance. I was watching this movie to see Vincent's creepy clothes for Halloween costuming ideas for a friend, plus I like to hear Vincent's creepy voice. I watched him as an ambitious, worldly priest in the Keys to the Kingdom (starring that awesome Gregory Peck -- yummmm). Price did not always act the horror master.Another horror master was Roger Corman, whom I hear was a renowned expert filmmaker and director. I am studying filmmaking coursework at university, presently.Enjoyed watching Elizabeth Shephard/Shepherd? in her dual role as Ligeia and Rowena. Elizabeth has quite a few emotions and theatrical shadings in her presentation. That takes quite a lot of talent and dedicated concentration.Also liked seeing Frank Thornton (RIP) as household staff, he of future Captain Peacock in Are You Being Served.The cat totally stole the show. This trained animal actor was very talented, and so cool when stealing the dark glasses and running off.Questions: Vincent had no British accent, so I find that a flaw. The description said Verden was a Victorian widower, but Queen Victoria did not reign until 1837. Ligeia died in 1821, so this is bogus. George IV and William IV reigned from 1820 to 1837. Was Verdell a widower past 1837? I don't think so. Victoria is infamous for architecture and lingerie. Some people still act post-Victorian in their mores and supposedly strait-laced attitudes. Verden's widowhood must have actually been pre-Victorian. I can't imagine he was widowed 1821-1837 (16 years). I am still watching the film, and via DVR have not been able to get quite finished.Costuming, props, makeup, hair, etc.: superb. Dark glasses: Look almost mid-1960s mod-London (out of time frame, but what the heck?). Mise-en-scenes: creepy graveyard among ruins; old mansions; fox and hounds. Good-looking cobwebbing in Verdell's abode. Fake-looking dead fox or bad taxidermy job. Elegant women's costuming. Vincent looks old and angry -- mentally disturbed at the beginning, wearing dark and gloomy widower's "weeds". On his wedding day to Rowena, he looks younger and happier, plus wears a light grey suit and looks years younger.I have read some of Edgar Allan Poe's works. IMHO he was alcoholic and a loser with women, plus he only lived to age 40. Still, he was a master writer whose works are still read and enjoyed. I am familiar with The Cask of Amontillado and The Raven. In my university history coursework, I find that his picture looks a lot like that of John Wilkes Booth.Vincent was also known as a famous gourmet chef and renowned art collector.

AaronCapenBanner Vincent Price plays Verden Fell, a reclusive man who is still mourning his wife Ligea. He one day meets and marries the Lady Rowena(Elizabeth Shepherd) in hopes of putting the past behind him, but finds that her memory is too strong and goes back to his old ways, staying in an old ruined abbey by her tomb, much to his new wife's regret. Events will soon spiral out-of-control as it seems a supernatural menace has indeed taken hold...Last of the Roger Corman directed Edgar Allan Poe adaptations is well-produced but too slow and overly familiar to succeed, since this just seems like a rehash of earlier plot elements from various Poe stories.

matheusmarchetti "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