The Pit And The Pendulum 1961 Film full HD movie download free with screenpaly story, dialogue LYRICS and STAR Cast

In sixteenth century Spain, Englishman Francis Barnard (John Kerr) visits the castle of his brother-in-law Nicholas Medina (Vincent Price) to investigate the mysterious death of his sister Elizabeth (Barbara Steele). Nicholas and his younger sister Catherine (Luana Anders) offer a vague explanation that Elizabeth died from a rare blood disorder six months earlier; Nicholas is evasive when Francis asks for specific details about the disease. Francis vows that he will not leave until he discovers the true circumstances surrounding his sister's death.

During dinner with the family physician, Dr. Leon (Antony Carbone), Francis again asks about his sister's death. Dr. Leon tells him that his sister died of massive heart failure, literally "dying of fright". Francis demands to be shown where Elizabeth died. Nicholas takes him to the castle's torture chamber. Nicholas reveals that Elizabeth, under the influence of the castle's "heavy atmosphere", became obsessed with the chamber's torture devices. After becoming progressively unbalanced, one day she locked herself into an iron maiden, and died after whispering the name "Sebastian". Francis refuses to believe Nicholas's story.

Francis tells Catherine that Nicholas appears to feel "definite guilt" regarding Elizabeth's death. In response, Catherine talks about Nicholas's traumatic childhood. Their father was Sebastian Medina, a notorious agent of the Spanish Inquisition. When Nicholas was a small child, he was exploring the forbidden torture chamber when his father (also played by Price) entered the room with his mother Isabella and Sebastian's brother, Bartolome. Hiding in a corner, Nicholas watched in horror as his father repeatedly hit Bartolome with a red-hot poker, screaming "Adulterer!" at him. After murdering Bartolome, Sebastian began torturing his wife slowly to death in front of Nicholas.

Catherine and Francis are later informed by Dr. Leon that Isabella in fact was not tortured to death, rather she was entombed behind a brick wall while still alive. Dr. Leon explains, "The very thought of premature interment is enough to send your brother into convulsions of horror." Nicholas fears that Elizabeth may have been interred prematurely. The doctor tells Nicholas that "if Elizabeth Medina walks these corridors, it is her spirit and not her living self."

Nicholas believes that his late wife's vengeful ghost is haunting the castle. Elizabeth's room is the source of a loud commotion, and it is found ransacked and her portrait slashed. Her beloved harpsichord plays in the middle of the night. One of Elizabeth's rings is found on the keyboard. Francis accuses Nicholas of planting the evidence of Elizabeth's "haunting" as an elaborate hoax. Nicholas insists that his wife's tomb be opened. They discover Elizabeth's putrefied corpse frozen in a position that suggests that she died screaming after failing to claw her way out of her sarcophagus. Nicholas faints.

That night, Nicholas–now on the verge of insanity–hears Elizabeth calling him. He follows her ghostly voice down to her tomb. Elizabeth rises from her coffin and pursues Nicholas into the torture chamber, where he falls down a flight of stairs. As Elizabeth gloats over her husband's unconscious body, she is met by her lover and accomplice, Dr. Leon. They had plotted to drive Nicholas mad so that she could inherit his fortune and the castle.

Leon confirms that Nicholas "is gone", his mind destroyed by terror. Elizabeth taunts her insensate husband. Nicholas opens his eyes and begins laughing hysterically while his wife and the doctor recoil in horror. Believing himself to be Sebastian, he replays the events of his mother and uncle's murders. He overpowers Dr. Leon, believing him to be Bartolome, and Leon falls to his death in the pit while trying to escape. Nicholas seizes Elizabeth, and repeats his father's promise to Isabella to torture her horribly.

Francis, having heard Elizabeth's screams, enters the dungeon. Nicholas confuses Francis for Bartolome, and knocks him unconscious. He straps him to a stone slab located directly beneath a huge razor-sharp pendulum. The pendulum is attached to a clockwork apparatus that causes it to descend fractions of an inch after each swing, ever closer to Francis's torso. Catherine arrives just in time with Maximillian, one of the servants. After a brief struggle with Maximillian, Nicholas falls to his death in the pit. Francis is removed from the torture device. As they leave the basement, Catherine vows to seal up the chamber forever. They slam and lock the door shut, unaware that Elizabeth is still alive, gagged and trapped in the iron maiden.

Development

20th Century Fox had announced plans to film the story in the late '50s, along with versions of "The Tell-Tale Heart" and "The Murders in the Rue Morgue", but the films were never made.

When Roger Corman's House of Usher was released in June 1960, its box office success took AIP's James H. Nicholson and Samuel Z. Arkoff by surprise. Corman admitted, "We anticipated that the movie would do well... but not half as well as it did." According to Richard Matheson, "When the first film was a hit, they still didn't consider doing a Poe series. They just wanted another movie with a Poe title fixed to it."

Corman felt Poe's two strongest stories after "Usher" were "The Masque of the Red Death", and '"Pit and the Pendulum". He considered making the former but was worried about similarities between the story and The Seventh Seal (1957), so he decided on adapting the latter. However Samuel Z. Arkoff said it was his and James H. Nicholson's decision to make Pit as the second Poe film "because it was a lot more graphic and in the second place, Masque of the Red Death would have needed a dancing troupe that would have been quite expensive. In all those early Poe pictures we had relatively few actors, so when we did finally make Masque of the Red Death we went to the UK where it would be less expensive to do it."

Screenplay

Matheson's script freely devised an elaborate narrative that barely resembled Poe, with only the finale having any similarity at all to the original short story on which the film was based. Corman noted, "The method we adopted on The Pit and the Pendulum was to use the Poe short story as the climax for a third act to the motion picture... because a two-page short story is not about to give you a ninety-minute motion picture. We then constructed the first two acts in what we hoped was a manner faithful to Poe, as his climax would run only a short time on the screen."

Matheson's screenplay included a flashback to a time immediately preceding Elizabeth's illness, featuring Nicholas and Elizabeth horseback-riding and eating a picnic lunch. Corman deleted the sequence prior to filming because he felt it violated one of his major theories regarding the Poe series:

I had a lot of theories I was working with when I did the Poe films...One of my theories was that these stories were created out of the unconscious mind of Poe, and the unconscious mind never really sees reality, so until The Tomb of Ligeia, we never showed the real world. In Pit, John Kerr arrived in a carriage against an ocean background, which I felt was more representative of the unconscious. That horseback interlude was thrown out because I didn't want to have a scene with people out in broad daylight.

The screenplay was modified from its original draft form during the film's shooting. Price himself suggested numerous dialogue changes for his character. In the script, when Francis Barnard is first introduced to Nicholas, the young man asks about loud, strange noises he had heard a few moments earlier. Don Medina responds: "Uh...an apparatus, Mr. Barnard. (turning) What brings you to us?" Price penciled in the suggestions "that must be kept in constant repair" and "that cannot be stopped". Later in the screenplay, when Nicholas recalls his father's chamber of torture, Price devised alternate explanations for Sebastian Medina's violence. During Nicholas' death scene, after falling to the bottom of the pit the character originally had dialogue at the point of dying, asking in a voice of horror, "Elizabeth. What have I done to you? (beat) What have I done to you?" The camera was to then cut directly to Elizabeth's face trapped in the iron maiden. Corman decided to jettison the lines, believing that the film should remain purely visual at that point and dialogue would ruin the power of the scene.

Filming

The Pit and the Pendulum was announced in August 1960, and filming began the first week of January 1961.

According to Lucy Chase Williams' book, The Complete Films of Vincent Price, the shooting schedule was fifteen days, and the film's budget was almost $1 million. Corman himself has said that the film's actual production cost was approximately $300,000.

Corman has noted that making the film was a pleasurable experience: "I enjoyed The Pit and the Pendulum because I actually got the chance to experiment a bit with the movement of the camera. There was a lot of moving camera work and interesting cutting in the climax of the film."

Filming went smoothly, and Corman attributed the ease of the production's shoot to the short but comprehensive pre-production planning he did with the major technicians:

We achieved what we did on a low budget because we carefully planned the whole production in advance of starting the cameras. Thus, when we moved into the studio for fifteen days of scheduled shooting, we didn't have to start making decisions. Because of our pre-production conferences with director of photography Floyd Crosby and art director Daniel Haller, everyone knew exactly what to do, barring any last minute inspirations on the set.

To create the flashbacks revealing Nicholas' traumatic experiences, Corman and Crosby attempted to shoot them in a manner that would convey to the audience the character's horror in dredging up nightmares trapped in his subconscious. Corman insisted on these images having a dream-like quality, "twisted and distorted because they were being experienced by someone on the rim of madness". Corman decided to film the flashbacks in monochrome, since he had read that some psychiatrists believe most people dream in "black-and white" imagery. Crosby used wide-angle lenses, violent camera movement, and tilted camera angles to represent the character's feeling of hysteria. The sequences were then printed on blue-tinted stock which was subsequently toned red during development, effectively producing a two-tone image. The highlights were blue, with the shadows rendered as red...producing a deep, bloody quality. The image was then run through an optical printer where the edges were vignetted and a twisted linear distortion was introduced.

Art direction

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