Apparently there are several versions of this Jess Franco directed project. This appears to be the French version, dubbed into English, and featuring 'The Living Dead Girl' herself, Françoise Blanchard (as Melissa). Amidst the candle-lit wailings, darkened, crumbling passages and overwhelming architecture are Franco veterans Lina Romay (the housekeeper, Maria) and Howard Vernon (Eric Vladimir Usher).
Whilst clearly out of the hands of Franco, it has to be noted the dubbing for this is pretty appalling. Whether the voice artists are actors at all, is debatable – the exception is Usher's voice-over, which sounds like an impression of James Mason.
The story, twisting and meandering and far too thin, involves Doctor Alan Harker (echoes of Dracula? There is also a Doctor Seward, who has in times gone by – played by a different actor – featured with Dracula, Frankenstein's Monster and fleetingly, a werewolf under Franco's direction) who visits the house/castle of his former Professor Usher. Usher is clearly insane and looked after by his housekeeper. His daughter (Blanchard) died years before, but can apparently be reanimated by the blood of prostitutes, who are kept imprisoned within the castle.
Despite the effective (and beautifully shot) locale, this is clearly one of the less budgeted Franco productions. Whether an artistic decision or a financial one, there is a lot of stock-footage from the earlier, far more acclaimed 'The Awful Doctor Orloff (1962)'. There is far too much of this, although these flashbacks are far superior to the film they are supporting. Although it features a younger Vernon as Orloff/Usher, the actress playing Melissa is noticeably different. The story of Orloff has been changed to fit the narrative of 'Revenge in the House of Usher.' When this was released, audiences weren't as privy to recordings of earlier films as we are these days, so the use of such footage is possibly justified. Seen now though, it seems like a way of backing up a weak story and padding out the running time. As a result, this is a patchwork affair. It isn't, as has been suggested, Franco's worst production – the locations alone are incredibly atmospheric and really promotes Usher's magnificent isolation, as does the minimalist soundtrack. And yet whilst saturating the viewer in its macabre mood-scapes, it remains an often ponderous exercise, with Franco's two trademarks – sex and gore – almost entirely absent.
Whilst clearly out of the hands of Franco, it has to be noted the dubbing for this is pretty appalling. Whether the voice artists are actors at all, is debatable – the exception is Usher's voice-over, which sounds like an impression of James Mason.
The story, twisting and meandering and far too thin, involves Doctor Alan Harker (echoes of Dracula? There is also a Doctor Seward, who has in times gone by – played by a different actor – featured with Dracula, Frankenstein's Monster and fleetingly, a werewolf under Franco's direction) who visits the house/castle of his former Professor Usher. Usher is clearly insane and looked after by his housekeeper. His daughter (Blanchard) died years before, but can apparently be reanimated by the blood of prostitutes, who are kept imprisoned within the castle.
Despite the effective (and beautifully shot) locale, this is clearly one of the less budgeted Franco productions. Whether an artistic decision or a financial one, there is a lot of stock-footage from the earlier, far more acclaimed 'The Awful Doctor Orloff (1962)'. There is far too much of this, although these flashbacks are far superior to the film they are supporting. Although it features a younger Vernon as Orloff/Usher, the actress playing Melissa is noticeably different. The story of Orloff has been changed to fit the narrative of 'Revenge in the House of Usher.' When this was released, audiences weren't as privy to recordings of earlier films as we are these days, so the use of such footage is possibly justified. Seen now though, it seems like a way of backing up a weak story and padding out the running time. As a result, this is a patchwork affair. It isn't, as has been suggested, Franco's worst production – the locations alone are incredibly atmospheric and really promotes Usher's magnificent isolation, as does the minimalist soundtrack. And yet whilst saturating the viewer in its macabre mood-scapes, it remains an often ponderous exercise, with Franco's two trademarks – sex and gore – almost entirely absent.