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House of Usher – An American horror film directed by Roger Corman in 1960, based on a script by Richard Matheson. It is based on the story of Edgar Allan Poe, The Fall of the House of Asher. The movie stars Vincent Price, Mark Damon and Myrna Fahey. That’s the case with the axle housing.

This film is the first of eight feature films by Corman/Poe. This is important in the history of American International Pictures (AIP), which specialized in producing low-budget black and white double-counting. In 2005 the film was listed in the American National Film Register as a film of cultural, historical or aesthetic significance.


Philip Winthrop (Mark Damon) travels to Asher House, an abandoned mansion surrounded by muddy swamps, to meet his fiancée Madeleine Asher (Mirna Fahey). Brother Madeleine Roderick (Vincent Price) resists Philip’s intentions and tells the young man that the Asher family was struck by the cursed ancestry that drove all their ancestors to madness. Roderick predicts that the family’s evil will spread to future generations through his marriage to Madeleine, and he furiously discourages the union. Philip tries more and more desperately to take Madeleine with her; she agrees to go with him when she desperately tries to escape her brother.

During a heated argument with her brother, Madeleine suddenly dies and lies in the family crypt under the house. While Philip prepares to leave after the funeral, Butler Bristol (Harry Ellerb) admits that Madeleine suffered from a catalepsy, a condition that could make her victims look dead. Philippe tears up Madeleine’s coffin and finds it empty…

Blu-ray Disc Video Arrow Special Features :

SteelBookTM Limited Edition
High Definition Blu-ray (1080p) Presentation
Additional English subtitles SDH for the deaf and hard of hearing
Audio commentary with director and producer Roger Corman
Interview with director and Corman Alumnus Joe Dante
Through the Pale By A specially commissioned video essay by critic and director David Kearns, that Corman’s film explores in the context of the Poe story, an archival interview with Vincent PriceAn anthology of new work by author and critic Tim Lucas, and an excerpt from Vincent Price’s many years of autobiography illustrated with archival photographs and original posters.

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Reviews [Click on the links for more information] :

Though not a masterpiece, Corman’s Price supported enthusiasm, Floyd Crosby’s surrealism, Lex Baxter’s film music and Richard Matheson’s favourite cult genre script make it probably the best of the Corman Poe cycle. This assessment is shared by most critics and by Price itself. 366 Strange films

Vincent Price shows again why he is a horror icon and turns into a show that always hits the right note.  Roderick Asher Price is a deeply concerned brother who loves his beloved but sick brother and sister, even though he himself suffers from such an illness. The actor is effectively reflected throughout the film as if he is trapped in a constant pitfall of impending death. 2,500 Film Contest

Visually, the film is a barrier of saturated colour and light, velvety red and purple against a background of grey, crumbling walls and windows. Korman often adds dream sequences to his films, and Asher’s house is no different than this, perhaps the most gruesome sequence, which contains images of a family that comes to life and has a scary sound. Celluloid Braid Man

…uses color perfectly to convey a sense of sinister terror. Vincent Price writes the essay by Roderick Asher, a mad aristocrat who unconsciously dumped his sister alive in her grave. He spits out the landscape while the rest of the troop crawls the corridors, looks at Asher’s degenerate paintings and breathes in Victorian decay. John Stanley, characteristics of creation.

…a masterpiece of Gothic horror, one of the best films ever made in America. As said, this was largely due to the skills of Price and Corman, who made the most of it with a small budget. Without being pretentious or innovative, he confidently creates the atmosphere with his staging and lets Price and Matheson do everything else in a subtle and intelligent scenario. Eccentric cinema

Despite its low cost and (apart from the unique Vincent Price) stickiness, it is relieved of comparative reluctance, praised accuracy, fidelity – despite the revaluation of the story – and Floyd Crosby’s first-rate camera work. It seems that the equipment has been used in an ingenious way and not to its full extent. There was also a refreshing sense of humour that could not be missed. Ivan Butler, horror movie, 1967.

…may be free with the original, but it seems like a strong piece of atmosphere dominated by Price’s tortured performance. The titles of the children’s films are as wooden as in the later Korman horror films, but the film barely betrays its low production budget – $200,000 – and its 15-day schedule. A little masterpiece. Alan Frank, Horror Film Manual, 1982.

The award is a perfect match for one of his most reserved and quiet roles. Coleman and writer Richard Matheson present this story as a product of Roderick’s imagination, and it certainly does. Mike Mayo, guide to horror shows: Ultimate Film Festival, 2013.

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Korman was a great admirer of Bergman and one can see his influence on his work, especially on the mask of the Red Death. The result is a form that has reached the level of a dark and thunderous melodrama. Occasionally Corman achieves subtle pleasant effects, but most of the time House Asher succeeds on the level of his tormented anger… Moria

Although it can be said that Korman never made a great film, Asher, with the Red Death Mask, is certainly one of the biggest and best of his Poe cycle. Korman’s interest in Freudian psychology manifests itself not only in Price’s incestuous longing for Madeleine, but also in the transfer of these extravagant desires to the house itself. Mark Whitehead, Pocket Essential: Roger Corman

This established the complete gothic outrage of the finale, a sequence so effective that Corman did his best to make it happen in many later films, especially the Poe cycle, and he proved to the trend setters that he was truly talented and could not only shake the chillers and smart thrillers with which he made a name for himself, but he also proved to the trend setters that he was not only talented, but could shake the intelligent chillers and thrillers with which he made a name for himself. Asher’s house is as impressive as ever. Rotate the image

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Beautiful cinematography and excellent colour photography underline this IPA plan, which is based on the Po. There is a good hypnotic order in which Madeleine makes the inventory in Asher’s crypt, and the fire finale is justifiably frightening. Terror attack

The painful decay and claustrophobia of the Asher House – which is both disturbed and temporarily cleansed by the fresh air that accompanies Damon’s arrival as a Madeleine Asher fan – is deliciously evoked by Floyd Crosby’s Scope Picture and Daniel Haller’s art direction, which is dominated by the rotten colour, blood red, violet. But Richard Matheson’s script is also exemplary: clear, imaginatively detailed and subtle. Time-out

It is not exactly a short story by Edgar Allan Poe that appears on Asher, but it is a rather fascinating and beautifully edited variation. Writer Richard Matheson, who promoted the venerable Poe prose, has managed to sufficiently preserve the seductive taste and spirit of the original. The evolutions change the personality of the three main characters, but not lightly. Breed, 31. December 1959

Selection dialogue :

Bristol: She’s obsessed with thoughts of death… …poor child.

Philip Winthrop: Is your terror endless?

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The actors and characters:

Vincent Price… Roderick Asher
Mark Damon. Philip Winthrop
Myrna Fahey… Madeleine Asher
Harry Ellerb… Bristol

Shooting locations:

Hollywood Hills, Los Angeles, California (Tierra del Fuego)
Raleigh Studios, 5300 Melrose Avenue, Hollywood, Los Angeles, California

Technical details :

79 minutes
audio : Mono (Ryder Sound Services)
aspect ratio : 2.35 : 1 Cinema

The budget:


Little things:

The paintings of the Asher family were made by Burt Schönberg.

Here we go:

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