"Revenge in the House of Usher" is said to be one of Jess Franco's worst film. However, this happens to be one of my favorite works of the celebrated director (well, depending on the cut, that is), and while it will not appeal to everyone, fans of European haunted house films like "Lisa and the Devil" and Franco's own "A Virgin Among the Living Dead" will find plenty to enjoy here. Incidentally, one of the reasons why people hate it so much (or so I think), also plagued the other two films, as the most common version is in fact a butchered recut. Originally released in Spain as "El Hundimiento de la Casa Usher", the film flopped and only resurfaced when Eurocine got it's hands on it, removing some of the original's most startling sequences and substituting them with an new subplot to cash in on the success of Franco's "Dr. Orloff" films, and even adding scenes from "The Awful Dr. Orloff" poorly edited into the mix as flashbacks. To it's credit, this new cut actually does a good job with the new footage, as they are quite atmospheric and interesting, and one can see they actually made an effort for it to look like it belongs to the same film but get tend dull and repetitive after a while. Now, back to "El Hundimiento...", Franco doesn't go for a straight adaptation of the story even though it does have a similar premise and climax. It's faithfulness lies at recreating the themes and mood of Poe's work, taking elements from more than one of his stories ("Ligeia" in particular is referenced throughout) to create something more unique. For my money, this film – along with Jean Epstein's superb 1928 take on the same story – is the one that actually comes closest to achieve that decadent atmosphere of morbid romance. The Spanish deserts may not be one's ideal location for the house, but here it actually works a lot, and remains close to Poe's description of it although in a rather unconventional matter. The never-ending daylight, a Franco trademark, is used to great effect too, creating a suffocating, feverish atmosphere throughout (also giving the idea that Usher's delusions may have something to do with that oppressive sun). The castle itself is absolutely stunning and is beautifully photographed. The use of shadows and natural light during the interior sequences is excellent, proving once again that Franco always has a great eye for shooting on locations. There are plenty of gorgeous, darkly Gothic compositions throughout, with the architecture always playing an important part. One of the most compelling aspects of this production is that Franco is aiming for a kind of 20's/30's Gothic . Compared to genre works of the same kind made during that period, it may feel helplessly outdated, but that's part of the charm. Unlike what some have grown to expect from him, there is no on screen sex and nudity, with most of the "dirty" stuff implied, which I personally feel is a wise move and works in a Val Lewton kind of way. Everything from the script and particularly Daniel White's non-stop melodramatic score just screams old-school, expressionistic horror. Although these scenes were added in under producer's insistence, some of the film's most interesting additions is that Usher may or may not be be a vampire serial killer. It isn't clear whether these killings actually took place, but they are truly powerful moments. The build-up for the first death scene is particularly incredible, with great use of expressionistic lighting, and the conversation between prey and attacker. The most downright disturbing murder is that of a little girl. The scene itself is already creepy with it's open suggestion of pedophilia, but having him actually kill her and feast on her blood on screen makes it quite difficult to watch. Howard Vernon's totally demented performance also helps in making this bit particularly convincing, as he really does seem to enjoy doing it. Speaking of Vernon, I must say this is his most impressive performance under Franco's direction. He is mostly lonely, introspective and melancholy, occasionally turning (sometimes in the same scene) gleefully over-the-top and hysterical; and also quite monstrous and downright scary. Although Mayans is sadly unimpressive and dull as the narrator/protagonist Harker; Lina Romay more than makes up for it as the servant Helen. Despite the absence of her usual masturbatory fits, Romay's acting is actually one of her all time best, serving as a kind of dead ringer for Helena Boham Carter in Tim Burton's "Sweeney Todd". In fact, I find her even more sexy with her clothes on, playfully seducing on the members of the household and oozing a sleazy, "femme-fatale" like charm. She also delivers some of the best lines, as well as the film's few moments of dark humor. Although I can't find her name in the credits list, the actress who plays the ghostly Edmunda deserves special mention as well. From her frightening introduction in a "Kill Baby Kill" inspired scene, she has a strong, ethereal quality on her. As for flaws, the film moves at a very slow pace (it worked for me, but I can definitely see why some can call it boring), and with a rather stiff protagonist. Also, this is a very low budget production, and it shows. The climax in particular suffers from the poor production values, with a very unconvincing "fall". The scene is made up basically from shaky camera angles and falling furniture. Still, this happens right after one of the film's most memorable sequence: Usher's encounter with his victims' vengeful ghosts, which may just be the most powerful moment in the film, akin to the powerful, haunting finale of "A Virgin Among the Living Dead". As a whole, "House of Usher" may not convince Franco bashers of the man's talents, but for more seasoned fans of the director and low-budget Eurohorror in general it is essential viewing.
The original Spanish version is a brilliant, expressionistic mood piece
6 December 2011
Warning: Spoilers