The Fall of the House of Usher

Considering the large number of early horror films that drew inspiration (however loosely) from the writings of Edgar Allen Poe, I'm left asking myself why I'm so inexperienced with the author's work. 'The Fall of the House of Usher (1928)' compresses Poe's 1839 short story into thirteen convoluted minutes, and I don't think I understood a moment of it. Beyond the inkling of a supposedly-dead sister coming back to life, the film made no clear sense to me, and I suspect that at least a vague knowledge of Poe would be useful prior to viewing. Nevertheless, my ignorance didn't prevent me from being entranced by every single second of James Sibley Watson and Melville Webber's avante-garde excursion into German Expressionism. Clearly drawing stylistic inspiration from Robert Weine's 'The Cabinet of Dr. Caligari (1920),' as well as the numerous artistically-similar pictures that emerged from Germany during the 1920s, 'The Fall of the House of Usher' is a superbly-spellbinding montage of creative photography, used to tell, without a single intertitle, a morbid tale of family terror.

The directors utilise every trick in the book (and some they made up themselves) to give their film the dreamy, deranged visual logic of a dream – or, more accurately, a particularly nasty nightmare. The camera often tilts steeply and woozily to simulate the characters' mental disorientation – a technique that Carol Reed would later use, to a lesser extent, in 'The Third Man (1949)' – and much of the shooting took place through prisms that distorted and reproduced images. Slow motion, both forwards and backwards, all adds to the tone of a drug-induced haze, as ominous, fragmented phantoms tower overhead. The warped and exaggerated set design directly references 'The Cabinet of Dr. Caligari' and, on more than one occasion, Melville Webber's Traveller appears to emulate Dr. Caligari (Werner Krauss) himself. Shadows and lighting are used wonderfully to complement the mood, another technique borrowed from German Expressionism, and the gnarled outlines of unseen figures on the wall emphasise the overstated photography and set design, further stressing the Gothic overtones of Poe's story.

Intriguing early experimental treatment of Poe from the same filmmakers who would bring us the even more astonishing "Lot In Sodom" in 1933. Doesn't compete with the equally avant-garde feature length version made at the same time by Jean Epstein & Luis Bunuel, yet stands well on its own. More of a tribute to UFA & German Expressionism than an outright imitation, with specific nods to Caligari, Der Golem, and Faust. Visually rewarding for lighting, cinematography, sets, makeup. Compiled in a skewed fashion reminiscent of the structure of a nightmare. Captures the wonderfully gloomy, morbid atmosphere of Poe's work, the claustrophobic ambiance of "Usher" in particular. A treat for fans of the genre, in addition to being sufficiently unusual & brief (just over 12 minutes) to hold the average viewer's attention. At one time, this film was available on an anthology videotape called "American Avant-Garde" along with the aforementioned "Lot In Sodom." Great stuff if you're lucky enough to track it down.

Fall of the House of Usher, The (1928)

*** (out of 4)

While this thing is missing the wonderful Vincent Price performance it does manage to outshine the Corman film with its use of brilliant visual effects, which are quite remarkable considering when this was made. The infamous Poe tale is retold in this short, which uses various visual effects to get the horror across. Those into weird cinema will certainly want to check this film out, which manages to have a couple creepy spots

Certainly worth checking out.

This is great film. Based on the Poe poem it uses lots of camera tricks to create a magic and surreal world. Beautiful black and white cinematography. This was amazingly an "amateur" film that was made by some very talented film enthusiasts. If you have ever made your own independent or "amateur" film, as I have, you will marvel and REALLY appreciate the effort and time put into this film. This is one of the handful of films I wish I could say that I made it! If you like the 1920s German expressionist films etc, you'll eat this one up.

This example of cinema is composed as avant garde expressionism. It uses various prism shots, multiple exposures, slow motion (forward and reverse), and inventive uses of sets and miniatures. Creative and experimental, it's a showcase for the filmmakers. However, this is to story telling what ballet is to story telling; you'd have to have some familiarity with the original to make sense of the action. Not meant for human consumption. There's a fine line between "artistic" and "arty," and like most ultimately pointless examples of avant garde, this carefully crafted work is pretentious enough for easy derision by the common observer.