Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

ada the leading man is my tpye

Ploydsge just watch it!

Lollivan It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Tweetienator If you like Vincent Price this is a must-see, like the Pit and the Pendulum and the House of Usher. All these classics are directed by Roger Corman and Mr. Price just gives us some of his finest performances in these movies. In The Masque of the Red Death, an evil prince worshiping Satan and practicing Black Magic tries to lure an innocent beauty to the Left-Hand-Path. But in the end, the black magician is confronted by a force even more powerful than the Fallen Angel.Imho this is one of Roger Corman's and Vincent Price's finest moments. A must-see for the lover of classic horror movies.

robert3750 I see several reviews on here making this film out to be some sort of Bergmanesque masterpiece. I don't see it that way. I found the characters rather uninteresting, including their final fates. There's no optimistic coda with the young lovers, and the only thing the film seems to have to say about the cruel Satan worshiping Prospero is "everyone dies eventually". Meh. It didn't strike me as scary or suspenseful at all. The only things I liked were that Jane Asher's quite the cutie, and Price gives a good performance.

jovana-13676 As Guillermo del Toro has said it, RED is the color of ghosts and sin. And no one does the colors better than Nicolas Roeg who photographed this film. It's a feast for the eyes and death comes in bright colors as a mysterious stranger. Vincent Price scares himself to death which is something to look at. Production design is gorgeous. A true artwork from King B!

thefinalcredits "Why should you be afraid to die? Your soul has been dead for a long time."In moving his adaptations of Poe's classic tales of horror to the UK, Corman not only produced his best work, but also benefited greatly from the contributions of the likes of cinematographer, Nicholas Roeg. Loosely based on Poe's work of the same name, the film's screenplay amalgamated strands from two works by the master of horror, while also presenting a celluloid version of a 'morality play' not present in the original story. The presence of Charles Beaumont in the pair of screenwriters, given his prominence in the development of the feel of many episodes of the 'Twilight Zone', lends the movie its surreal yet captivating quality. From the outset, Roeg's influence can be appreciated with the 'Bergmanesque' appearance of Red Death in the mist-laden forest. Indeed, Corman delayed production of this movie due to the similarities to Bergman's 'Seventh Seal'. Moreover, one can witness Roeg's recent experience of working under David Lean on 'Lawrence of Arabia' in his masterful use of editing. Another important British contribution is that of musician and composer, David Lee, whose score for this film would be a career high point for the man responsible for Peter Sellers and Sphia Loren's hit, 'Goodness Gracious me'. It is amazing that this score, which so aptly adorns each scene of the movie, was completed in just three weeks from the man who would become one of the founders of JazzFM. Corman himself belies his reputation as merely a helmer churning out bare-bones 'B-movies' with the sumptuous artistic look of the piece. Though, he could be accused of attributing style more importance here than the pure mechanics of horror, which are given more vent in the rest of his films. The performance of Vincent Price can be ranked as one of his best, portraying the sadistic Prince Prospero, who holds court over the decadence and depravity of his rich guests, taking sanctuary from a pestilent disease decimating the impoverished peasantry outside the castle gates. His despotic nature reveals itself in the callous disregard he has for the lives of his subjects, and the relish he takes in seeking to corrupt the beautiful young ingenue played by Jane Asher, the girlfriend of McCartney at the time. By incorporating Prospero's satanism in the plot, and contrasting it to the young peasant girl's Christian beliefs, the director and screenwriters allow for an opportunity to recast Poe's story as a philosophical treatise on the nature of good versus evil. Price is in his element hinting at the malevolent deity he worships, in one memorable scene, stating: 'If a god of love and life ever did exist...he is long since dead. Someone...something rules in his place'. Prospero's growing fascination with the young girl leads to the growing resentment of the incumbent 'lady' of the castle, succinctly played by horror film regular Hazel Court. Her attempt to maintain her position by fully embracing the prince's satanic beliefs, and then offering herself as bride to his master, leads to a truly memorable dream sequence in which she is repeatedly sacrificed to the shaman priests of various cultures, before her own brutal death. Yet, the most terrifying scene belongs within the sub- plot based on another short story from Poe. In retribution for a mindless assault on his dancer girlfriend by one of the prince's malevolent guests, the court midget, Hop Toad, lulls the perpetrator into performing a party trick which will end in a truly horrific fiery end. In portraying the former, Skip Martin, and the latter, Patrick Magee, respectively complete a solid supporting cast . The denouement of the story is more faithful to Poe's original narrative in establishing that death comes equally to all, with a superb dance macabre where Red Death, voiced superbly by John Westbrook ( am I alone in thinking it was Christopher Lee), passes fatally among the castle guests before revealing his true identity to Prospero himself. The film does have obvious flaws, among which are firstly, the use of a child dubbed with an adult's voice to incarnate the midget dancer, and secondly, the countless opportunities afforded to Prospero to have sport with deciding the fate of the peasant girl's lover and father (played by Nigel West before he achieved more renown). Yet, the lasting impression, down to the final credits, is of a film which should be remembered as demonstrating Corman's unexploited potential as a true auteur.