Twice-Told Tales (1963)

*. From the TCM website: “After completing Tales of Terror (1962), Vincent Price took a break from Roger Corman’s low-budget but atmospheric adaptations of Edgar Allan Poe stories and tried something different with another studio. The result was the United Artists production, Twice-Told Tales.” Wait a second . . . did they say “something different”?
*. This is an obvious sequel to Tales of Terror, from a not-so-obvious source. I mean, The House of Seven Gables? Really? As was done with the stories of Poe in the earlier film, we are talking very, very free interpretations of the source material. Only “Dr. Heidegger’s Experiment,” by the way, was included in Hawthorne’s volume of Twice-Told Tales.
*. Aside from the different sources, there are two other big differences. First: No Roger Corman. Sidney Salkow does a decent job, but you can feel the lack of imagination. Second: No Richard Matheson. There’s no humour or wit in the script, which makes it all seem stuffy and heavy. Is that a distinction we could also make between Poe and Hawthorne? Maybe. But Hawthorne could have a light touch.
*. You’ll tell from this that I didn’t like this one as much as Tales of Terror. I’m not sure moving to United Artists even led to having more money to play with. No one could make a movie for less than Corman, but I haven’t been able to find a budget for either movie reported. This certainly doesn’t look like a movie that cost any more to make. Not that it looks bad — the collapsing house at the end is respectable — but it doesn’t look any better.
*. I wonder what the first house to drip blood was. There would be a lot of them later, but were there any before this? I’m sure there were but I can’t think of them.
*. Is the poison plant acidic or radioactive? Or both? At one point Rappaccini refers to being burned by “radiation from the acid’s heat.” Does this make sense?
*. Poor Vincent. He just kept playing this jealous or bitter loser at love. Three times here. In the first story his mistress marries his friend (so he kills her). In the second his wife leaves him and his daughter despises him. In the third his new bride can’t wait to run into the arms of a rival. I wonder if this thematic consistency was intentional.
*. The first two stories in particular are downers. And the first is rather odd. Price is (sort of) the villain of the piece, but he’s also the sole survivor. Are we meant to feel sympathy for him at the end?
*. I don’t see this as being of much interest to anyone other than a fan of the horror films of this particular period or of Vincent Price. I think more might have been made out of the stories, but it wasn’t. “Rappaccini’s Daughter” in particular really drags (despite Joyce Taylor looking lovely), and it doesn’t have the sort of shocking climax that anthology-horror specializes in. But then nothing about this movie stands out very much, for good or ill.

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