Adapted from Edgar Allan Poe’s short story The Fall of the House of Usher, this film marked the beginning of a series of eight Poe adaptations by Roger Corman, often in collaboration with writer Richard Matheson. Shot in a mere fifteen days, it was a bold departure for American-International Pictures, known for its black-and-white double features. This venture into color cinema with a substantial budget was a significant risk by AIP’s standards, adding a unique twist to the film’s production history.

Central to the narrative is the tragic fate of the Usher family, cursed to descend into madness. This ominous prophecy has not only engulfed their home but also the very ground it stands on, leading to its gradual decay and destruction.

Philip Winthrop (Mark Damon, Black Sabbath) traveled to the House of Usher to take his fiancee Madeline, who is opposed by her brother Roderick (Vincent Price), who is determined to see his family’s bloodline end with this generation. This leads to an argument so brutal that Madeline’s catalepsy is triggered, making her appear dead, and when she’s buried alive, she fully gives in to the madness within the Usher family, bringing the entire home down in flames all around everyone but our hero, who leaves with nothing.

Although Corman and Lou Rusoff are usually given credit for the AIP Poe cycle of films, Damon spoke up on a Black Sabbath commentary track, claiming he gave Corman the idea and was even allowed to direct The Pit and the Pendulum. This story hasn’t been confirmed, as there are several images of Corman directing that movie.

The success of House of Usher not only paved the way for more collaborations between Corman and Price but also set a precedent for reusing the same sets and special effects. The iconic Usher house set, which was actually a scheduled demolition, was set ablaze, and the footage used in multiple films, a testament to the enduring influence of this production.