“Afraid my dear? There’s nothing to be afraid of.” – Dr. Scarabus
Halloween season is in full swing and with the big night quickly approaching, I realized I haven’t done a review or written anything related to Edgar Allan Poe yet. After seeing Nathan Thomas Milliner’s stage adaptation of Murder by Poe at the Shelby County Community Theatre, here in the great state of Kentucky, which was absolutely fantastic, it really captured the eerie atmosphere and tone that Poe brings to his stories. The performances and mood were spot on. Naturally, that made me want to revisit something Poe related on film, and of course, that means something featuring my favorite actor Vincent Price. Halloween simply isn’t complete without Poe, Corman, and Price, so it only felt right to focus on one of Poe’s most famous tales, The Raven from 1963.
The Raven (1963) is a gothic horror comedy directed by Roger Corman, loosely inspired by Edgar Allan Poe’s famous poem of the same name. The film stars Vincent Price, Peter Lorre, and Boris Karloff—three legends of classic horror—along with a young Jack Nicholson in one of his early roles. Set in a world of rival sorcerers, dark castles, and mysterious magic, the story follows Dr. Erasmus Craven, a kind-hearted magician mourning his late wife, who becomes entangled in a battle of wits and spells after a talking raven appears at his window. Unlike many of Corman’s other Poe adaptations, The Raven blends atmospheric horror with humor, making it much more playful than usual and yet beautifully crafted tribute to Poe’s legacy and the golden age of gothic cinema.
The film begins with Vincent Price as Dr. Erasmus Craven, a gentle and melancholy sorcerer mourning the loss of his beloved wife Lenore. One stormy night, as he reflects on his grief, he is unexpectedly visited by a raven tapping at his window. At first, he believes it to be a simple bird, but to his astonishment, the raven begins to speak, voiced by none other than Peter Lorre. The talking raven reveals that he is actually Dr. Adolphus Bedlo, a fellow magician who has been transformed into this unfortunate state by another powerful sorcerer, Dr. Scarabus. Intrigued and somewhat amused, Craven brews a potion to return Bedlo to human form, setting off a strange and darkly comedic journey. Soon, the two men, joined by Craven’s daughter and Bedlo’s bumbling son (played by a young Jack Nicholson), set out to confront Scarabus and uncover a web of deception, rivalry, and magical duels within the grand, eerie halls of his castle.
The Raven (1963) marks the fifth entry in Roger Corman’s celebrated Poe cycle, a series of eight films loosely inspired by the works of Edgar Allan Poe and produced by American International Pictures. This cycle, which began with House of Usher (1960), became a defining moment in gothic horror cinema, known for its lavish sets, moody color palettes, and the unforgettable presence of Vincent Price. By the time The Raven was released, audiences were already captivated by Corman’s distinctive blend of psychological dread and visual elegance.
What set The Raven apart was its surprising tone as it leaned more toward dark comedy than pure horror, offering a witty and self-aware take on Poe’s work while still maintaining the gothic atmosphere fans expected. Despite this tonal shift, the film performed strongly at the box office, becoming another financial success for Corman and American International Pictures. Its mix of humor, fantasy, and classic horror charm helped solidify the Corman-Poe cycle’s reputation as one of the most iconic runs in mid-century genre filmmaking. This is when most people consider it as Roger Corman’s “peak years” or one might say “best” films.
The screenplay for The Raven was written by Richard Matheson, one of the most influential writers of mid-century horror and science fiction. Known for I Am Legend and his work on The Twilight Zone, Matheson took Poe’s brief, melancholic poem and transformed it into something entirely new—a whimsical fantasy adventure filled with rival sorcerers, magical duels, and dry humor. Rather than retelling Poe’s somber meditation on grief, Matheson used its mood and imagery as a creative springboard, crafting a story that celebrates Poe’s gothic spirit while playfully twisting it into a tale of wit, charm, and supernatural spectacle. An amazing writer, there’s just a piece of trivia for you.
In the end, The Raven is one of the most entertaining and unusual films in the Corman Poe series. It doesn’t take itself too seriously, and that’s what makes it so much fun. If you don’t find yourself laughing at this movie a bit, then something is wrong. Between the witty banter, the over-the-top magic duels, and the great chemistry between Vincent Price, Peter Lorre, and Boris Karloff, it feels like everyone involved was having a blast.
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