After the success of Roger Corman’s cycle of films based on the works of Edgar Allen Poe, AIP naturally wanted to produce more like them, but they soon had to turn to other sources. There simply aren’t that many Poe short stories easily adapted to the screen, and fewer still that could be stretched into full-length movies. Once they’d used up their best candidates, including a comedic spoof in The Raven and the anthology Tales of Terror, AIP turned to HP Lovecraft. In the early 1960s, Lovecraft hadn’t yet gained his fame, while Poe was well-known as America’s leading writer of the macabre, so they used the former writer’s story ideas, dressed up in trappings of the latter.
I call such movies Poe’d-up Lovecraft.
Die, Monster, Die isn’t the earliest example, nor the best, but it’s on the flip-side of The Dunwich Horror and it’s got Boris Karloff in one of his last films.
Those familiar with Lovecraft’s work will eventually recognize this film’s story as a loose adaptation of The Colour Out of Space. Viewers unfamiliar with Lovecraft might take it for a modernized version of AIP’s own House of Usher; both films begin in a similar way.
Like Usher, Die, Monster, Die opens with a young man seeking out the family home of the woman he loves. This film’s hero Stephen Reinhart (a pugnacious Nick Adams) arrives at the sleepy UK–not Massachusetts–village of Arkham to encounter nothing but obstruction when the villagers hear that he wants to go to the Witley estate. They won’t drive him there, nor rent him a bike or car, nor even point him in the right direction. But walk he does, out into the countryside until he crosses a blasted landscape with dead, blackened trees that crumble in his hands when he touches them, and a prominent impact crater in the midst of it.