I suppose this is the best you get when three acclaimed and prominent European directors interpret the oeuvre of Edgar Allan Poe in their own typical and over-praised filming styles
The Gothic ambiance as well as the poetic darkness of Poe's writings entirely vanish and have to make room for artsy gimmicks and personal trademarks of each director. I'm probably in a minority here, but I prefer directors like Roger Corman when it comes to Edgar Allan Poe adaptations. The seven films in HIS ultimate Poe homage are much more loyal to the original writings and at least Corman wasn't reluctant to focus on the horror aspects of the stories. That being said, "Histoires Extraordinaires" of course isn't a bad film! Horror collaborations between legendary directors are always worth checking out, especially with the eminent cast members Americans and Europeans that were involved here! The first story by "Barbarella"-director Roger Vadim is a really weak opener, despite the colorful decors and the unique casting of siblings Jane and Peter Fonda as lovers. "Metzengerstein" revolves on the riotous Countess Frederica who behaves as the narrator so beautifully says like a female version of Caligula and takes all her wealth for granted. That is until she meets the handsome Baron Wilhelm who obviously isn't impressed by her flamboyant lifestyle and turns down Frederica's advances. When Wilhelm accidentally dies in an arson she commanded, Frederica becomes an emotional wreck and replaces his image by a large, fiery stallion. I'm sure Vadim's segment is rich on symbolism and perverted undertones, but the screenplay is too dull and slow.
Although most people seem to prefer Fellini's contribution, my choice for best episode of the three is Louis Malle's "William Wilson". The subject matter feels familiar, being another variation on the 'doppelganger'-theme, but the narrative structure is ingenious, there's plenty of suspense & even some bloody action and the acting performances here are far superior to the ones in the other two segments. Alain Delon is simply terrific as the cruel and obnoxious Wilson, a man whose vile crimes are always rectified by his own shadow. Multiple scenes in this episode are disturbing and quite controversial and William Wilson is the only character that is portrayed like a genuine Poe-villain. Brigitte Bardot puts down a courageous performance and the De Sadean climax in which she gets whipped for losing a game of poker is strangely fascinating. If I were to rate each story separately, this one definitely earns a 9 out of 10. "Toby Dammit" was a huge disappointment for me, mostly because Fellini films his own horror-related obsessions and totally ignores Edgar Allan Poe's. The story works well enough as a nightmarish portrait of a drug-abusing actor's descent into madness, but it totally lacks Gothic eeriness. Infant Terrible Toby Dammit arrives in Rome to star in a glorious film production (the first religious western ever!), but he only cares about material rewards, partying and running amok on national television. Pretty soon, he's haunted by the always re-appearing image of a young girl with a skipping rope. This segment is recommend only for Terence Stamp's curious performance and Fellini's terrific use of color shades but, in the context of a Poe-inspired horror omnibus, it's painfully out-of-place.
Although most people seem to prefer Fellini's contribution, my choice for best episode of the three is Louis Malle's "William Wilson". The subject matter feels familiar, being another variation on the 'doppelganger'-theme, but the narrative structure is ingenious, there's plenty of suspense & even some bloody action and the acting performances here are far superior to the ones in the other two segments. Alain Delon is simply terrific as the cruel and obnoxious Wilson, a man whose vile crimes are always rectified by his own shadow. Multiple scenes in this episode are disturbing and quite controversial and William Wilson is the only character that is portrayed like a genuine Poe-villain. Brigitte Bardot puts down a courageous performance and the De Sadean climax in which she gets whipped for losing a game of poker is strangely fascinating. If I were to rate each story separately, this one definitely earns a 9 out of 10. "Toby Dammit" was a huge disappointment for me, mostly because Fellini films his own horror-related obsessions and totally ignores Edgar Allan Poe's. The story works well enough as a nightmarish portrait of a drug-abusing actor's descent into madness, but it totally lacks Gothic eeriness. Infant Terrible Toby Dammit arrives in Rome to star in a glorious film production (the first religious western ever!), but he only cares about material rewards, partying and running amok on national television. Pretty soon, he's haunted by the always re-appearing image of a young girl with a skipping rope. This segment is recommend only for Terence Stamp's curious performance and Fellini's terrific use of color shades but, in the context of a Poe-inspired horror omnibus, it's painfully out-of-place.