Gothic full of symbols and atmosphere directed very well by Corman who not only creates aesthetically beautiful and intense scenarios but also personalizes the film through camera movements and speeding.

Verden, Vincent Price, is not only played great but he is an interesting character, immediately presented with funereal tones, black suit, black glasses, the light bothers him. The night-day dualism is well represented in the film, during the day Verden seems to really love Rowena, the two get married but at night he is absent.

The initial fox hunt of the film, the fox recalls the color of the hair of Rowena, in fact symbolizes how the woman is a prey but, being a Gothic, Rowena is immediately bewitched, she is attracted to the cemetery and the red of her dress recalls the flowers of Ligeia's tomb as well as being the color of passion, the love story between her and Verden, but also of blood, of danger.

Rowena's eyes are blue, blue is her color, she often wears a blue dress and Corman decorates the gothic house of Verden, or rather Ligeia's, with many blue objects that contrast the black color which is represented by Ligeia, black eyes and hair. Verden's black dress represents her belonging  to Ligeia, the same black cat that will hinder Rowen is the extension of the soul of Ligeia herself.

The film is full of atmosphere and plays on the mystery, on the fact whether Ligeia is really dead, whether in reality Verden is crazy, on the general mystery of the house for what happens at night and to Rowena.
 The dream sequences starring the latter are memorable, Corman knows how to use the horror moments to fuel the tension, the scenarios, the photography are suggestive, the brush with the hair, the fox on the bed and the wonderful mirror where Verden becomes Ligeia are all excellent sequences.
The direction, as written, not only creates suggestive shots playing well between the colors and creating paintings but Corman moves the camera to open up new scenarios, such as the cemetery at the beginning, but also when he approaches Rowena while she is observed by the black cat, therefore he always suggests a look, an enlargement of the visible scenario.
The speed-ups have their estranging effect, they give even more that sense of the otherworldly, the appearance of Verden with the tray from the balcony is fantastic.
The sequences hypnosis creates their own symmetry, both in the flames first of Rowena and then of Verden with the always dark presence of Ligeia. Symmetry also sought in Verden's assault scenes, first on Rowena, in the first act, when he thinks it is Ligeia and in the end the same but this time Corman shows the image of Ligeia.
This also makes us understand how in reality Verden is subjugated by Ligeia, given that during the day, he lashes out at Rowen thinking it is Ligeia therefore when he is more lucid he does not love his deceased wife.

For the timing it is impossible not to mention the sequence of Rowena as she approaches the bell with the alternating montage where Verden explains Ligeia's prophecy with the always dark presence of the black cat; and obviously the ending is Rowena's advance into the secret room with the reds that are very present in the scenarios and the shot that distorts.

A note that could be found is perhaps the somewhat excessive explanation of the servant of Verden at the end, however, this does not affect a fascinating film directed very well by Cormen.
Charm and suggestions created also thanks to the extensive Egyptian mythology present in the film which makes the staging "sacral", mysterious and purely gothic .

Excellent film and excellent gothic.