By contrast Jason or Michael would lose a lot of their menace if they spoke. The silent treatment is scary, but it's a depressing kind of scary. With his fiendish laugh Price really just pretends to be scary. He lets you in on the joke and in doing so eliminates "real" scariness of the slashers, which is why his films are above all, delightful, not traumatizing. The zombies of Romero and his imitators just eat you; unlike le gourmand Price, they don't give a shit how you taste. Nothing slows them down as they stagger and chomp. If you want to get Price off your scent, just toss him a piece of scenery; he'll gladly chew it in your stead.
In MASQUE especially, Price is the picture of perfection as the devil-worshipping Prince Prospero. He's having a ball, albeit one with a guest list of gluttons, slavering toadies and ennui-ridden perverts. Being the only one with anything close to a genuine wit in the whole place (aside from Hop Toad), Prospero relies on his higher purpose--the serving of his dark master Satan--to keep him from getting depressed. Prospero might indulge himself with vice occasionally, but it's always for a point, a spiritual debasing as suits his dark lord's whims; his macabre jests indicate an aesthete beyond petty concerns of greed and lust. Like many a Corman antihero, he's driven to find what lies beyond pain and pleasure, to get to some terrible, usually fatal, level of truth.
In short this is the movie that THE PARTY and THE WILD PARTY and THE WILD ANGELS (Corman, 1966) try to be, but don't have the devil on their side. MASQUE's Prospero and ANGEL's Heavenly Blues (Peter Fonda) actually have a lot in common: each is a charismatic natural leader (a stand-in for Corman himself?) forced to endure the uncouthness of their minions, bound to lead packs of dimwitted trogs who've mistaken their gluttonous earthly lusts for true freedom. Compare the hilariously disturbing scene wherein Prospero orders his guests to roll around on the floor (like the filthy animals they are) to the climax of ANGELS where the gang trashes a church in a drunken orgy of destruction. Heavenly's admonition to the priest, "We wanna be free to ride our machines without being hassled by The Man... and we wanna get loaded... and we wanna have a good time." is not dissimilar to Prospero's decrees, such as: "If a God of love and light ever did exist, He is long since dead. Someone... some...thing rules in his place."
For me and some of us in the rock group I was in, sex, drugs and rock and roll were a way to expand the mind and get loaded and not be hassled by the man (at least at first). For a lot of our hairy fans it was a chance to get heheheh fucked up! Wooo! Mexican Mud! Yeah! In that sense, Prospero prefigures Timothy Leary, the acid generation, and the later 'e' generation. And thus MASQUE is one of the most legit psychedelic horror movies until Corman's X-THE MAN WITH X-RAY EYES, and THE TRIP! Do you doubt it? Can you look at Corman's MASQUE and not think of some far away rave or acid test of your dreams?
Consider the Satanic initiation of Hazel Court in the film: desperate to regain Prospero's favor after the arrival of lovely Jane Asher, Court undergoes a private ceremony where she is "stabbed" by a series of shamanic figures from throughout the ages: there's an Egyptian, Japanese, African, and Russian shaman/ghost, all waving their scythes and knives over her prostrate immobile heaving buxom figure, distorted through sheet metal reflection and green tinting. With it's thumping Rite of Spring-y David Lee score, this scene should be familiar to anyone whose ever dropped hardcore psychedelics (or had a really bad fever) and had to undergo similar life/death blurring at the hands of "the threshold dwellers" before they could be free. And once you face those grinning demon dervishes and the impure and selfish/fearful parts of you ripped to shreds symbolically (but it sure feels real to you) then you are free...for awhile, anyway, til the hawks swoop in.
Similarly, anyone whose ever tried to have a cultivated evening of psychedelically enhanced dancing, talking and group sex only to have the vibe ruined by the late-inning arrival of pinks, townies, burnouts, jonesers and/or wallies will cheer (at first) when Patrick McGee's (left) beady-eyed little ballerina molester receives grisly retribution at the hands of Hop Toad (Skip Martin). And who can fail to notice how Charles Beaumont's clever screenplay casts the humble Christians of the village as dull whiners (and hypocrites) while Prospero remains ever-complex and witty? Like Richard III, Prospero may be "evil" but he's the one taking the trouble to invite you along and to keep the film you're watching full of interesting bits of business. That is, until Death comes for him and he has to face the ultimate threshold dwellers all by himself, all while covered in red paint and forced to participate in modern expressionist dance!
If you still doubt the lysergic glory of this movie, remember five things: 1. It's got one of the best Corman scores ever (Corman had to use a Brit, so Les Baxter was out, though I thought it was Les for years - as a comment below points out, it's David Lee) / 2. It's genuine Poe - which means you can smell the absinthe from across the sea of time / 3) Nicholas Roeg does the cinematography (lots of great camera movement); and 4) Jane Asher was once engaged to Paul McCartney. 5) It ends with a trippy modern dance. The whole rainbow spectrum of various robed Deaths is a little pretentious but The Seventh Seal had been very influential a few years earlier and this was--after all--happening after death. Tripping, you can always imagine when things get super weird, like everyone turning red and freeze-framing, that you may have died and not known it out there on the dance floor. The part where all the crowd's red hands are reaching out at him as Prospero tries to escape in a kind of Batman villain sideways dance move captures just what it's like when you're trying to get out of a packed Dead Show on too much acid, or Liz Taylor at the beach in SUDDENLY LAST SUMMER.
Asher is pretty good as the girl who feels her morality gradually crumble in the thrall of Prospero's seduction strategies. In real life, she broke off her and Paul's engagement when she realized Prospero, I mean Paul, was way too much of a libertine. She wanted something more old-fashioned and monogamous. Somehow it's very apropo to the film, don't you think? As she says early on, "I have no learning!" Or as the Red Death says, "I give you... a sign."