La caduta della casa Usher

A stranger called Allan (Charles Lamy) goes to an inn and requests transportation to the House of Usher. The locals remain reluctant, but he gets a coach to transport him to the place. He is the sole friend of Roderick Usher (Jean Debucourt), who leaves in the eerie house with his sick wife Madeleine Usher (Marguerite Gance) and her doctor (Fournez-Goffard). Madeleine is the beloved muse and model and is being painted by Roderick. When she dies, Roderick does not accept her death, and in a dark night, Madeleine returns.

For those like me that have not read the story of Edgar Allan Poe, the conclusion of "La Chute de la Maison Usher" is quite confused. However, the Gothic cinematography is very impressive, recalling the German Expressionism. It is amazing how Jean Epstein was able to produce such atmosphere, considering the primitive technology of 1928, with difficulties in lighting, sensibility of films, edition table and portability of cameras. However, the shadows and lights are really amazing in this black and white film. This movie was the first work of Luis Buñuel in the cinema industry, working as assistant of Jean Epstein. Just as a curiosity, the resemblance of Charles Lamy with Carlos Alberto Parreira, the coach of the Brazilian soccer team, is incredible. My vote is nine.

Title (Brazil): "A Queda da Casa de Usher" ("The Fall of the House of Usher")

The Fall of the House of Usher is about... well, I suppose it's about someone, Allan, visiting the house of Usher, run by Roderick, who lives with his sick wife Madeline and spends most of his time painting and trying to find a cure for whatever her supernatural-esquire disease is. The rest of what happens I cannot really say. Maybe because I'm still not totally sure myself. While I've yet to read the original Poe story, or see the later, more well known Roger Corman production with Vincent Price, I would probably advise on what little I know in comparing both films for the 1960 version if you're most concerned about sticking straight to the story.

Apparently, by the way, Luis Bunuel, who was director Jean Epstein's chief collaborator, quit after creative clashes over this issue. For whatever reason it was, I'd be hard-pressed to figure on how much influence he did or didn't leave on the picture. As it stands, and probably sticking to a certain aesthetic that was familiar for those in love with Poe, the silent version of Fall of the House of Usher is chock full of atmosphere in every kind of delicious, creepy, wonderful kind of connotation. The production design is sometimes full of a smoke, or a smoke-filled tint from the camera, and the outside of the mansion is covered in dirty fields and dead trees. The inside of the house, the interiors of the walls, the mirrors, the paints of Roderick's, and the placement of the camera in some strange angles (i.e. guitar) all build up to something unexpected.

Would I call it surrealism just because of Bunuel's involvement? Yes and no. Yes in that, of course, there are some striking moments that could only come out of a dream &/or a desire to just completely tool around with the audience's head just for the hell of it. And no because it's really Epstein's movie through it all, and he crafts this mostly as a somber, quietly intense picture where he experiments not in as a surrealist but as a director of contemplative Gothic horror. I can't even totally understand what absorbed me, but everything in the 'plastic', technical sense of the word did, not to mention the performances by Debucourt, Lamy, and especially Gance who all seem to be drifting in and out of the fantastical consciousness that seems to be living in this place, where life and death merge or go un-hinged, and (as another reviewer noted) is like a slow-poisoning prison.

Just, as I said, don't watch it to be wrapped up in 'what happens next in the "plot"', as it's more about what may happen in the next twist with a setting or a mood, or if a character should suddenly have a look that changes everything. It's not the greatest of the near-end silent period, but it's close.

This memorable adaptation of Edgar Allan Poe's "The Fall of the House of Usher" is particularly impressive in its use of visuals and in the macabre, disorienting atmosphere that it creates, which fits in well with the story. Jean Epstein made some rather significant changes to the story, but as a movie it all works very well.

The story changes the central relationship between Roderick and Madeline, and in so doing discards some of Poe's themes, but adds some new ones of its own. Likewise there are other differences as the story unfolds, but Epstein had his own consistent conception of the possibilities in the story, so that it's neither better nor worse than Poe's idea, just different - they are both creative and fascinating conceptions in their own way.

The settings and visual effects are very effective in establishing the atmosphere, and in setting off some of the themes of the story. Some of them, such as the enormous array of flickering candles by which Roderick works, are used as recurring images, with surprisingly haunting results. The pace with which the images come at the viewer is also used as part of the effect. It's quite a distinctive accomplishment, and it's a movie that you won't forget for a while.

I had the chance to see this film about 20 years ago and it's still quite fresh in my mind (if you knew me you'd find this very unusual). I still remember how I was wrapping myself up during the course of the film as I was feeling colder and colder - it was a summer night, mind you.

The plot sticks tightly to the original story and it shows France's affinity with Edgar Allan Poe since it was the great Charles Beaudelaire himself who translated Poe's work into French.

The film manages to create an unusual sense of discomfort unlike most classic horror films where the settings etc. result more in a feeling of (uneasy) cosiness. The insanity in Roderick Usher's face is utterly believable as well as the parts of the other characters. What tops it all up is the constant draught in the mansion. Wall hangings are steadily moving and bits of paper and dust are blowing through the corridors. Hence the above mentioned feeling of physical coldness.

All I can say is I need to see this film again and I would be grateful if anyone could point me in the right direction (Quelq'un en France, peut-etre?).

As was inevitable, movies of the silent era depended on their imagery in a way that became less important after the introduction of sound. During the same time period there were a number of hugely significant art movements that would influence the relatively new medium of cinema. Art trends such as cubism, dada, expressionism and surrealism had enormous impact on films of the time. The Fall of the House of Usher is a good example of a film based on 19th century literature but brought to the screen via the artistic sensibilities of the day, namely expressionism and surrealism. Because of this, like its peers such as The Cabinet of Dr. Caligari and Nosferatu, it has attained a timeless quality and it will always remain a fascinating art-horror film.

The plot-line such that it is, is about a man named Allan who visits his friend Roderick Usher at his remote mansion. Usher lives with his sick wife Madeline, who suffers from some mysterious unknown disease. He is obsessed in painting a portrait of her. She dies and Usher, unable to accept it, descends into madness.

The tone is definitely downbeat and this is reflected by the gloomy haunting imagery used throughout. The strikingly inventive visuals escalate as the film progresses as a way of reflecting Roderick Usher's journey into insanity. Billowing curtains, close-ups of a giant pendulum, a haunting painting of Usher's wife, a moon-lit trip to the mausoleum and swirling mist are just some of the details captured. The film is overloaded in creepy Gothic atmosphere. Production design is excellent, with the grounds of the mansion populated with dead trees and swirling mist, while the interior has enormously high ceilinged rooms decorated with mirrors, curtains and Gothic furniture. In keeping with the film's artistic bent, everything is photographed quite excellently with many close-ups and unusual angles. The overall feeling of the film is that of a fever-dream which is very much in keeping with the central character's damaged state of mind.

In the best silent films, the storyline is very much secondary to the ambiance. The Fall of the House of Usher is no different and is one of the greatest silent horror films. It's an often quite stunning mood piece and comes highly recommended.