Unveiling The Fall of the House of Usher: A Comprehensive Review
Discovering the depths of horror through the lens of Mike Flanagan's adaptation of "The Fall of the House of Usher" on Netflix, premiering on October 12th, is a journey worth undertaking. This review, free from spoilers, is part of our coverage of the Fantastic Fest 2023.
The Unexpected Narrative
First and foremost, understanding "The Fall of the House of Usher" directed by Mike Flanagan entails breaking free from preconceived notions. It's not a straightforward adaptation of Edgar Allan Poe's iconic tale, although Poe's essence is deeply honored throughout the series. Flanagan doesn't merely replicate the novel about a man whose inner decay parallels his crumbling dwelling. Instead, he ingeniously weaves the short story, acting as a bridge linking selected works. Each episode explores another legend from Poe's tales, all enveloped within the narrative of "The Fall of the House of Usher," resulting in one of Flanagan's finest creations.
A Cohesive Tapestry of Characters
The sprawling Usher family owes its complexity largely to what we could describe as the "voracious" Roderick Usher (Bruce Greenwood). While only a few of his children's mothers make appearances, the crucial mothers in the story are his sister, Madeline (Mary McDonnell), and his younger wife, Juno (Ruth Codd). The narrative focuses on the children, falling into two categories: the legitimate heirs, Tamerlane (Samantha Sloyan) and Frederick (Henry Thomas), and the "illegitimate" children, including media mogul and relationship addict Camille (Kate Siegel), drug-addicted game developer Napoleon (Rahul Kohli), surgeon Victorine (Tanya Miller), and the troubled Prospero (Suraj Sharma). Also in the mix is their granddaughter, Lenore (Kelly Curran). In the midst of their complex and chaotic lives, Mark Hamill portrays Arthur Bem, Carla Gugino embodies Verna, and Carl Lumbly takes on the role of Auguste Dubin.
Masterful Performances
Every name listed serves a dual purpose. Firstly, they offer clues to those familiar with Poe's works. Secondly, every performance mentioned, even those held for later discussion, is exemplary. Without a hint of exaggeration, every one of them is flawless. Flanagan has worked with a consistent ensemble of actors over the years, and many of them appear in "The Fall of the House of Usher." What prevents boredom from setting in with their recurring presence across Flanagan's transition through the works of Stephen King, Shirley Jackson, Henry James, Christopher Pike, H.P. Lovecraft, and now Poe, is that none of them are ever normalized into a singular character mold. For instance, Sloyan and Kohli are entirely different here from their characters in "Midnight Mass." "The Fall of the House of Usher" provides the entire ensemble a wholly new playground, and it's evident that everyone is having a blast.
Setting a New Standard for Horror
Following the high bar set by "The Haunting of Hill House" in Flanagan's cinematic works, "The Fall of the Usher" easily meets those expectations, courtesy of the cinematography by Michael Fimognari (Flanagan and Fimognari have a long-standing partnership dating back to "Oculus" in 2013). Much like its predecessor, "House of Usher" strikes a good balance between slow, eerie horror and direct screams as Roderick narrates his convoluted story to Auguste within the decayed husk of his childhood home. Both the past and the present are filled with horror moments we expect from Flanagan, but he happily delves into murder myths while tragedy weaves its way through the Usher family.
An Engaging Tragedy
The tragedy primarily revolves around the parent rather than us. Although their deaths are plot essential, the story isn't truly about them. While their deaths come in varying degrees of horrifying and gruesome manners, nearly every member of the Usher family and even the non-Usher individuals are dealt with in their own way. Imagine watching "Succession" and seeing each pitiful main character in the show get what they deserve in the most gruesome ways possible. That's the delicious kind of schadenfreude "The Fall of the House of Usher" offers. We witness each victim, whether part of the Usher family or not, face the consequences of their actions despite the numerous warnings that preceded them. In the end, hubris, much like any of Fortunato Pharmaceuticals' luxury products overseen by Roderick, is akin to an addictive narcotic.
Conclusion
There isn't a moment where "The Fall of the House of Usher" doesn't shine. Bringing Poe's tales into the contemporary world, Flanagan's series focuses on some of the greatest evils of our time. Fortunato Pharmaceuticals, the Usher family's subsidiary company, named after Poe's story "The Cask of Amontillado," is the driving force behind all of Roderick and Madeline Usher's actions. Meanwhile, Madeline's obsession with immortality continues to appear in the margins, only surfacing appropriately to mock artificial intelligence and its place in storytelling or the human experience as a whole.
Every aspect of "The Fall of the House of Usher" shines, from Susan Davis' costume department to the extensive visual effects team. This new series by Mike Flanagan always launches at full throttle, and it's sure to join the annual watchlist of many fans as part of the horror season tradition.
