Poe's 'Tales of Mystery and Imagination' have proved to be an abundant source of material for film and the most adapted are 'Murders in the Rue Morgue' and 'Fall of the House of Usher'. The former has been treated very shabbily by film-makers and each adaptation seems to me infinitely worse than the one before. The latter has fared slightly better however.
Roger Corman's version of 1960 has excellent production values and a riveting performance by Vincent Price as Roderick Usher but is weakened alas by the insertion of the obligatory Hollywood 'love interest'. There is a truly bizarre English version from 1950 that boasts some stunning visual effects but is marred by some of the naffest acting I have ever had the misfortune to witness. The thirteen-minute American avant -garde version of 1928, despite its dazzling images, remains an exercise in style. Jean Epstein came from the avant-garde but in his version from the same year he has transcended that style and given us what is, atmospherically speaking, arguably the finest Poe ever filmed.
Some have criticised the film because of Epstein's changes and much has been made, probably too much, of the artistic differences which caused adaptor Luis Bunuel to quit the film. The major change is that in order to avoid the suggestion of incest Madeline has become Roderick's wife rather than his 'tenderly beloved sister'. No doubt Bunuel would have preferred the original concept!
This might very well be 'bad' Poe but remains brilliant film-making. The directorial touches and the cinematic inventiveness are breathtaking, combining Surrealism and elements of German Expressionism whilst the art direction of Pierre Kefer is of the highest quality. As for the newly added score however, the jury is still out, for this viewer at any rate.
Madeline is played by Abel Gance's wife at the time, Marguerite and her character in this is as insubstantial as in Poe's story. Roderick is here given a marvellous interpretation by the young Jean Debucourt who suggests incipient madness with great sublety. He went on of course to become one of France's finest character actors, working with the greatest directors as well as being a luminary of the Comedie Francaise.
The 'horror' genre is eminently suited to silent film where images are more effective than words. This is not only the pinnacle of Epstein's silent oeuvre, its influence on later Gothic horrors is there for all to see.
Roger Corman's version of 1960 has excellent production values and a riveting performance by Vincent Price as Roderick Usher but is weakened alas by the insertion of the obligatory Hollywood 'love interest'. There is a truly bizarre English version from 1950 that boasts some stunning visual effects but is marred by some of the naffest acting I have ever had the misfortune to witness. The thirteen-minute American avant -garde version of 1928, despite its dazzling images, remains an exercise in style. Jean Epstein came from the avant-garde but in his version from the same year he has transcended that style and given us what is, atmospherically speaking, arguably the finest Poe ever filmed.
Some have criticised the film because of Epstein's changes and much has been made, probably too much, of the artistic differences which caused adaptor Luis Bunuel to quit the film. The major change is that in order to avoid the suggestion of incest Madeline has become Roderick's wife rather than his 'tenderly beloved sister'. No doubt Bunuel would have preferred the original concept!
This might very well be 'bad' Poe but remains brilliant film-making. The directorial touches and the cinematic inventiveness are breathtaking, combining Surrealism and elements of German Expressionism whilst the art direction of Pierre Kefer is of the highest quality. As for the newly added score however, the jury is still out, for this viewer at any rate.
Madeline is played by Abel Gance's wife at the time, Marguerite and her character in this is as insubstantial as in Poe's story. Roderick is here given a marvellous interpretation by the young Jean Debucourt who suggests incipient madness with great sublety. He went on of course to become one of France's finest character actors, working with the greatest directors as well as being a luminary of the Comedie Francaise.
The 'horror' genre is eminently suited to silent film where images are more effective than words. This is not only the pinnacle of Epstein's silent oeuvre, its influence on later Gothic horrors is there for all to see.