The Fall of the House of Usher

1928
6.8| 0h13m| en
Details

In a decaying castle surrounded by a dank, mirrored lake live the morbidly nervous Roderick Usher and his sickly twin sister, Madeline. Their tale is told and dimly comprehended by the unnamed narrator, a boyhood friend whom Roderick has summoned. When Madeline soon dies—or seems to die—they entomb her body. On a stormy night, "cracking and ripping" sounds and a "shriek" from below convince the panicky Roderick that "We have put her living into the tomb!" The shrouded, emaciated figure of Madeline appears at the door of Roderick's book-strewn study, falls upon him, "and in her violent and now final death-agonies, bore him to the floor a corpse."

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Alicia I love this movie so much
Siflutter It's easily one of the freshest, sharpest and most enjoyable films of this year.
Billie Morin This movie feels like it was made purely to piss off people who want good shows
Juana what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.
Polaris_DiB Watson's and Webber's "The Fall of the House of Usher" is not necessarily a film meant to be consumed as that particular form and medium, but actually a showcase of their technological experiments. At heart, it is a straight-forward German Expressionist film: stage quality is emphasized, enormous love of chiaroscuro, and both set design and costume is marked by sharp black and white contrast. The two add to the effect by dislocating the viewer through the use of split-screens, prisms, and elliptical editing, effects that were popular among experimentalists of the silent era, but which unfortunately did not find popular response enough to turn into a normal mode of representation today--which is unfortunate because it does fit well into the Gothic style of horror Edgar Allen Poe is most famous for, and because Watson and Webber were both involved with poetry and were basically making a quite poetic cinematic form. The best I can tell, cinepoems died soon after the coming of sound, once dialog helped reinforce the desire in most audiences to really understand characters and narrative plots and stylistic explorations became special effects. However, the fascination with the fragmentation of reality (even Gothicly or Romantically) persisted in underground film-making, eventually leading the way to the likes of Maya Deren and Stan Brakhage. And of course, it's still fascinating to watch today.--PolarisDiB
culliton This film is a wonderful impressionistic condensation of the major themes of Poe's story. I have used it in class (11th grade), and many students have been enthralled and entrances (a difficult result to produce from teens for from a silent film)! Although the costuming and much of the general appearance is seemingly Art-Deco, the film retains many of the important elements of the story. It seems to portray the interpretation that Roderick poisoned Madeline, as one of may possible interpretations of the story. Because it is so impressionistic it -- like Poe's original story-- contains many levels of meaning and lends itself to many interpretations.
Snow Leopard This unusual and memorable movie version of Poe's "The Fall of the House of Usher" has some creative details, and although it is one of the more obscure versions of the story, it offers a distinctive look at a couple of its many interesting aspects. The style is deliberately murky, and it has not so much as an inter-title, so that you do need to know at least the basic plot in order to understand what is happening.The original story is psychologically provocative and often uncomfortable, even by Poe's usual standards, and this adaptation is pretty successful in using symbolism and visual images to bring out various aspects of the mental disorientation and dread that the characters struggle with. You can watch it a couple of times and still notice new details that the film-makers inserted at various points. It focuses particularly on the peculiarly complex relationship between Roderick and Madeline, with the narrator of the original story much less prominent here.Poe's fascinating short story has been the source for many different movie versions, and Jean Epstein made a particularly good one in the same year as this feature. This Watson/Webber version, with its short length and its avant-garde approach, is hard to compare with the full-length versions. For what it tries to do, though, it works pretty well.
paul1314 As a devotee of vintage horror and silent era in particular this should have been meat and drink to me. With a feature being released at the same time, commercialism was not one of the movie's flaws, but the reduction of the Poe tale to a vignette of a little over 10 minutes is woeful.

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