DIRECTED BY: Jean Epstein
FEATURING: Charles Lamy, Jean Debucourt, Marguerite Gance, Abel Gance
PLOT: Roderick Usher invites an old friend to the portentous mansion where he lives in the company of the servants and his dying wife, Madeline, whose portrait he has been obsessively trying to paint.
WHY IT MIGHT MAKE THE APOCRYPHA: Like it’s source material, Epstein’s silent film treatment of’s short story doesn’t explicitly depict any extraordinary phenomena, but the aura of metaphysical discomfort and mysterious menace is so pervasive that it lends it an oneiric character—one that’s likely to give a stronger and longer lasting impression than any more overt effect.
COMMENTS: Despite the expected controversy over the precise definition and characteristics of the movement (or whether it even qualifies as a movement), one could say that the underlying tenet of French Impressionism is the search for an emancipated cinematic language, with its own forms and techniques, in contrast to the “filmed theater” approach. Instead, cinema was to articulate, with its own unique means, certain realities (and modes of expressing them) that no other art-form could. Impressionist films focused on, among other things, subjective, psychological reality: dreams, madness and all sorts of altered states of consciousness, The methods necessary to compellingly bring it to life were unconventional camerawork, including character point-of-view perspectives, innovative editing techniques, a preoccupation with the visual composition of shots and their picturesque qualities (such as the contrasts between light and dark), etc.
With this said, it’s easy to see how such a movement proved vitally influential to weird cinema (and filmmaking in general)—as well as why it’s the perfect fit for an adaptation of an Edgar Allan Poe story. And indeed, Jean Epstein aptly translates the author’s most revered hallmarks—a constant, underlying sense of unease—to the language of cinema. It’s so well-realized that the viewer can predict the house’s impending ruin even without the title. The suggestion of a spectral world of shadows and unconscious forces subtly advances on diurnal reality, and the persistent aura of mystery and the uncanny reveals itself at each new turn, be it in the enigmatic presence of Madeline Usher, in Roderick’s afflicted mood and behavior, or in the many disquieting details of the mansion and its surroundings.
The resulting atmosphere of dreamlike disquiet is sustained through the film’s runtime, as if the viewer were trapped in the elegant and ethereal matter of a cloud as it gradually darkens and thickens before the storm. And as overused as it might be, “atmosphere” is indeed the appropriate term, considering the amount of shots purely devoted to its establishment (the ominous images of Nature, the manor’s vast, empty spaces where nothing but the wind manifests itself)—especially when compared to the more practical approach Continue reading APOCRYPHA CANDIDATE: FALL OF THE HOUSE OF USHER (1928)