#myrna fahey

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Vincent Price, Myrna Fahey, and Mark Damon

Fall of the House of Usher (1960) dir. Roger Corman

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House of Usher (1960)

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Did you know that I could hear the scratching of her fingernails on the casket lid? HOUSE OF USHER (1960) dir. Roger Corman

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House of Usher

directed by Roger Corman, 1960

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Give Roger Corman more money and time to make a movie, and he goes FULLY RESPECTABLE!! It's THE FALL OF THE HOUSE OF USHER (1960) starring Vincent Price, Mark Damon and Myrna Fahey!

Context setting 00:00; Synopsis 35:22; Discussion 42:50; Ranking 1:06:40

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Mark Damon-Vincent Price-Myrna Fahey "La caída de la casa Usher" (House of Usher) 1960, de Roger Corman.

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Currently Watching

HOUSE OF USHER [aka The Fall of the House of Usher] Roger Corman USA, 1960

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Part one of gifs from the Laredo episode Three's Company. Chad reconnects with an old flame named Emily (played by Myrna Fahey) when she and her railroad builder of a father visit Laredo. Emily's father makes Chad a very lucrative job offer, insisting he wants Chad to work for him regardless of where Chad's and Emily's relationship might go.

Chad accepts the offer and resigns from the Rangers. Not wanting him to leave, Reese and Joe (and the usually mature and objective Captain Parmalee) work to sabotage Chad's engagement. While they don't succeed, Chad's relationship falls apart anyway, when Emily tries to forbid him from taking one last ride out to help Joe, Reese, and Parmalee.

An interesting episode for several reasons. One: Joe and Reese are upset enough by the idea of Chad leaving the Rangers--read: leaving THEM--that they go to hilariously ridiculous lengths to ruin his relationship. At one point, Reese pays off the cantina hostess to pretend that Chad is her deadbeat husband. It's also worth noting that Captain Parmalee, who is typically above and averse to the boys' scheming actively participates in their plot this time. He renegs on giving Chad time off to spend with Emily, instead ordering him out on an assignment that forces him to break a date with her at the last minute (and leaves her thinking he stood her up).

The writers also made a point to vilify the otherwise pleasant and understanding Emily out of nowhere, less the scheming of his friends actually be the reason his engagement failed.

Like, this show was really opposed to the idea of giving any of the guys a healthy romantic relationship (very obvious gay subtext between Chad and Joe aside). Not Bonanza-level bad where the majority of female characters were killed off, but yeah.

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#myrna fahey

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[ilovemesomevincentprice]

Vincent Price, Mark Damon, and Myrna Fahey

The Fall of the House of Usher (1960) dir. Roger Corman

[weirdlookindog]

House of Usher (1960)

[scifipinups]

Some of "Roger's Women"

Lori Nelson Day the World Ended (1955)

Beverly Garland It Conquered the World (1956)

Beverly Garland Not of This Earth (1957)

Susan Cabot The Wasp Woman (1959)

Myrna Fahey House of Usher (1960)

Jackie Joseph Little Shop of Horrors (1960)

Sandra Dee The Dunwich Horror (1970)

Simone Griffeth Death Race 2000 (1975)

Heather Menzies Piranha (1978)

Sybil Danning Battle Beyond the Stars (1980)

Jennifer Runyon Carnosaur (1993)

Natalie Martinez Death Race (2008)

Amy Holt (Rasimas) Dinocroc vs Supergator (2010)

Jena Sims Attack of the 50 Foot Cheerleader (2012)

Marci Miller Death Race 2050 (2017)

R.I.P. Roger Corman (1926-2024)

[watching-pictures-move]

Movie Review | House of Usher (Corman, 1960)

This was the first of the Edgar Allan Poe adaptations directed by Roger Corman, all of which have been helpfully put up on the Criterion Channel this month. I've watched a few of those this year and one of the things that's stood out to me is the way they've been defined by their confined settings. There's a consistent sense of morbid intimacy, that you're almost entombed along with these characters in whatever secluded manor they've decided to rot away the rest of their days in. There are also obvious budgetary benefits, as keeping the action to one setting would help save money, which could then be put towards things like costumes and props and lighting and camera setups which help make these movies look much more lavish than their budgets would suggest.

I haven't been approaching these in chronological order, and as a result this one feels a touch less refined, or at least it seems that the precise alchemy hasn't been quite figured out yet. For one thing, normally when you cast Vincent Price (whose salary took up a third of a budget), he should either be onscreen at all times or when he's not onscreen, all the other characters should be asking, "Where's Vincent Price?" (Or Roderick Usher, whatever.) Here, and perhaps this is a result of the source material (I admit it's been a very long time since I've read any Poe and don't think I read this particular story), he's filtered through the relatively less engaging Mark Damon (whose name should amuse fans of Tommy Wiseau). For what it's worth, he's quite enjoyable, sporting a bizarre bleach blond haircut and doing justice to the arch qualities of the dialogue. I suspect this and the other Corman Poe films are worth seeing in a theatre, if only to hear Price's rich, sonorous voice booming through the sound system. There's also sadly no Hazel Court, and Myrna Fahey plays things more chaste and gets fewer notes to hit, although she does throw herself into the climax when she makes Damon strongly reconsider the idea of marriage.

So perhaps this isn't the best one of these, but it still offers the same gothic horror pleasures as the others so I had a good time. And even if it doesn't hit the psychedelic heights of other Corman efforts (The Masque of the Red Death and the unrelated to Poe X: The Man with X-Ray Eyes), there's a great eerie nightmare sequence which piles on the coloured filters to atmospheric effect.

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House of Usher

Roger Corman’s HOUSE OF USHER (1960, Criterion Channel through month’s end) seems so much more a mood piece, and a surprisingly well done one, than a horror film that its box office success is rather surprising. Of course, it came out at a time when most horror films were all tease, with Corman’s no exception. What’s really surprising, however, is the growth in his directorial style between his previous films, SKI TROOP ATTACK and A BUCKET OF BLOOD (both 1959) and this one. It’s amazing what a bigger budget can do for a director. The film moves seamlessly through Richard Matheson’s romanticization of the Edgar Allan Poe story. Philip (Mark Damon) arrives at the House of Usher to claim his fiancée (Myrna Fahey) only to learn she’s ill, and her brother (Vincent Price) refuses to allow her to leave. To justify his behavior, Price explains the family curse. One thing carried over from Corman’s earlier work is its subversive nature. Where earlier films dealt with militarization, illness, women’s rights and consumerism, HOUSE OF USHER tackles racism and colonialism. The cast may be entirely white, but there’s no escaping the history of racial exploitation in the Usher line, with the oldest ancestor Price invokes having run a slave ship. There’s even an element of sexism in the way Fahey is caught between conflicting demands by the two men in her life. Price manages to chew the scenery even while playing a character who rarely speaks above a whisper, while Fahey is quite good. Damon isn’t bad, though his hair is way out of period (a problem with many early and mid-century historical films). Floyd Crosby’s Technicolor cinematography is a feast for the eyes, with art director Daniel Haller making the film look much more expensive than its $300,000 budget. And Les Baxter provides a powerful and highly influential score. HOUSE OF USHER inspired a series of Poe adaptations by Corman and AIP while also influencing the nature of gothic horror in other countries, particularly Italy.