Hooptober XII | 21/31 | Based on Novels 2/4
My best and only friend, I am sick and worried. My wife, Madeline, is dying, and then it will be my turn. I beg you, come to our head.
— Roderick Usher
A man arrives at a small inn, luggage in tow, asking for a ride to the house of Usher. In his hands is a letter written by Roderick Usher, begging the man to come. After some deliberation, they agree. At the house, Roderick works on a painting of his wife, Madeline. Madeline stands, distant and exhausted, disconnected from the fixated Roderick.
The cabbie arrives some distance away from the Usher mansion. Through the fog, the mansion appears to come closer to them. The cabbie refuses to go any further and throws Roderick out of his carriage. So, the man makes the final walk to the mansion, where he meets Roderick and the physician caring for Madeline. The physician does not understand what is wrong with her.
Roderick and his guest sit to dine, but Roderick seems possessed, fixated on something in the house itself. Roderick picks up a guitar to play, which seems to soothe the space. When Roderick feels the urge to paint, he does all he can to dismiss his friend. They look at the painting of Madeline, which is like a mirror, and Madeline seems trapped inside. What is ailing the Ushers? Can anyone save them?
Wow, this movie looks fantastic! The cinematography feels so modern, with its unusual frames and the speed with which it cuts. The film makes use of close-ups of objects and hands to create unusual juxtopositions. Of course, there are the occasional moments that reflect the period, but for the time, this is quite a jolt of lightning.
The house interior looks like a massive stage, with sparse chairs spread far about the space. The stairs feel wide enough to be rooms themselves, escalating to the heavens. Sometimes, a strong wind will blow through a space, lifting the curtains and people’s hair as if they were floating. Books fall off the shelf on their own accord.
The film takes some liberties with the story, but it’s nothing I care about much. What’s more compelling is how experimental the structure is. For example, when the man arrives at the inn and asks for a ride, the men repeat the name “Usher” over and over again, creating the sensation of a dream trying its best to avoid turning into a nightmare.
I have to imagine this movie was an inspiration to Guy Maddin.
This movie won’t be everyone’s jam. But if you love the Poe story as much as I do, and can’t get enough adaptations, you should find something to appreciate. As for me, I’m obsessed.
Criterion (or literally anyone), please restore this and put it on physical media!