"The Tomb of Ligeia" was one of a cycle of films made by Roger Corman in the sixties based on the works of Edgar Allen Poe. Verden Fell, an English country gentleman of the 1820s has become obsessed with his dead wife Ligeia. Indeed, although she has been buried in a tomb he built for her, he believes that she is not dead but has, as she promised she would, survived death in some form and will return to him. This obsession survives Fell's remarriage to Rowena, the daughter of a neighbouring landowner. Indeed, his obsession worsens, as he comes to believe that Rowena is possessed by Ligeia's spirit. This is an unusual horror film in that much of it takes place not only outdoors but also in daylight. The sort of images of ruin and decay traditional in horror films- Fell lives in a gloomy, crumbling, cobwebbed manor house close to the ruins of a mediaeval abbey- are contrasted with sunlit scenes of the beautiful, verdant English countryside. The difference between life and death is the central idea of the film- which ends with a quote from Poe himself: "The boundaries which divide life from death are at best shadowy and vague. Who shall say where the one ends and where the other begins"- so this contrast is possibly symbolic, with the outdoor scenes symbolising life and the indoor ones death. The two main female characters (both played by the same actress, Elizabeth Shepherd) are differentiated in a similar manner. Rowena is a healthy-looking, "English Rose" type blonde with a love of outdoor pursuits, especially hunting. Ligeia is dark haired and gaunt with an unhealthy pallor. Like many films of this period, and unlike later films such as "The Exorcist", this is an example of an understated horror film, with the horror mostly being implied rather than shown directly. Ligeia makes an appearance in the film, but we are never sure whether this is really her ghost returning from the grave or a hallucination conjured up by Fell's distraught mind. Although it is understated, however, it is genuinely frightening, not because of Exorcist-style special effects, but because of the eerie mood that Corman is able to create. Apart from the atmospheric setting, various objects take on a sinister significance- a bunch of flowers, a dead fox and, most of all, a mysterious, malevolent black cat which may be the reincarnation of Ligeia's soul, or may be just a cat. The acting is also very good, especially from Shepherd in the dual role of Rowena/Ligeia and from Vincent Price as Fell. In a way this is also a dual role, as there are two separate aspects to Fell's character. On the one hand he is sinister and frightening, the man who threatens Rowena's happiness, her sanity and even her life. (The adjective "fell" significantly means cruel or fierce). On the other hand he is a pitiable character, a victim of his own obsessions and (possibly) also of his late wife's ghost. This duality is very much in keeping with the mood of the film, which is one of ambiguity and doubt. As befits one based upon the work of Poe, it is a tale of mystery and imagination. 7/10
The Tomb of Ligeia (1964) 1080p YIFY Movie
The Tomb of Ligeia (1964) 1080p
A man's obsession with his dead wife drives a wedge between him and his new bride.
IMDB: 6.63 Likes
The Synopsis for The Tomb of Ligeia (1964) 1080p
Some years after having buried his beloved wife Ligea, Verden Fell meets and eventually marries the lovely Lady Rowena. Fell is something of a recluse, living in a small part of a now ruined Abbey with his manservant Kenrick as the only other occupant. He remains infatuated with his late wife and is convinced that she will return to him. While all goes well when first married, he returns to his odd behavior when they return to the Abbey from their honeymoon. The memories of Ligea continue to haunt him as well as her promise that she would never die.
The Director and Players for The Tomb of Ligeia (1964) 1080p
The Reviews for The Tomb of Ligeia (1964) 1080p
Haunting Tale of MysteryReviewed byJames HitchcockVote: 7/10
Of all the collaborations between director Roger Corman and sensuous, creepyactor Vincent Price, this is probably their best. There's the small cast ofcharacters, mainly Ligeia, buried in a marble tomb in the grounds of asinister old abbey, Rowena, a lady horserider looking for someone she can be'drawn' to who is more interesting than her beau Christopher, and Verdon,Ligeia's bereaved husband, with his black shades and mood swings. There'salso a cat. And this cat is really the true star of the film, watching,attacking, influencing.
The film benefits from its heavy use of locations, and makes it stand apartfrom the studio interiors of other adaptations. This is a decadent,decaying England with strange happenings and curses. It is a superb film,and lifts the Shepperton Poe adaptations to a new level.
Roger Corman is often celebrated for his economies, but nobody evertold me that he was also a wonderful cinematic craftsman. 'The Tomb ofLigeia (1964)' is my second Corman film (after the throwaway cheapie'The Little Shop of Horrors (1960)'), and I'm now intrigued by theprospect of seeing his other Edgar Allan Poe-inspired creations. Horrormaestro Vincent Price stars as Verden Fell, a wealthy widower whobecomes obsessed by the possibility that his deceased wife somehowsurvives. Inexplicably drawn to Verden's sinister charms, the lovelyLady Rowena (Elizabeth Shepherd) agrees to marry him. However, on theirwedding night, she is tormented by the memory of her predecessor, whoseemingly takes the form of an ominous black cat. Though one couldargue that nothing much happens in this film, it is neverthelessexceedingly dense with atmosphere, almost stiflingly so, every frame anoverwhelming banquet of garish colours. The darkness of the nighttimeis vividly punctuated by the gleaming scarlet of blood, hellish yellowflames, and an invisible black enemy that skulks in the shadows.
While I don't expect that 'The Tomb of Ligeia' stays particularly closeto the original story, the screenplay from Robert Towne (later to write'Chinatown (1974)') emulates the gloomy Gothic overtones of classicPoe. Discomfort is gleaned, not only from the dialogue, but thesilences between words. Not that Verden Fell is not given his fairshare of dialogue; the film is so apparently entranced by the dark,charismatic tones of Price's voice that he often breaks off intosuperb, meandering monologues that give voice to the obvious. Not thatthe audience is complaining, of course the way Price presents himselfto the camera, with complete and utter conviction, is mesmerising.While the film, of course, owes a debt to Poe's literature, it is alsoan expansion of the Gothic melodrama sub-genre of the 1940s. ConsiderHitchcock's 'Rebecca (1940),' in which young innocent Joan Fontaine isplagued by the "ghost" of her husband's previous wife; or Mankiewicz's'Dragonwyck (1946),' which finds Gene Tierney harassed by her mentallyderanged husband played, appropriately, by Vincent Price.