Roderick, the last in the line of Ushers, obsessively works on a painting of his ailing wife, who becomes ever weaker the more vibrant her portrait becomes, until she finally dies, at which point he goes a little mad(der), in Epstein’s unsettling, impressionistic horror film, which is enhanced considerably by Rolande de Candé’s discomforting 1960 musical arrangement. Iain.Stott
Thursday, 23 September 2010
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