"The Facts in the Case of M. Valdemar" Published 1845

"The Facts in the Case of M. Valdemar" is a short story by American author Edgar Allan Poe about a mesmerist who puts a man in a suspended hypnotic state at the moment of death. An example of a tale of suspense and horror, it is also, to a certain degree, a hoax as it was published without claiming to be fictional, and many at the time of publication (1845) took it to be a factual account. Poe toyed with this for a while before admitting it was a work of pure fiction in his "Marginalia."

Plot summary

The narrator presents the facts of the extraordinary case of Valdemar which have incited public discussion. He is interested in Mesmerism, a pseudoscience involving bringing a patient into a hypnogogic state by the influence of magnetism, a process which later developed into hypnotism. He points out that, as far as he knows, no one has ever been mesmerized at the point of death, and he is curious to see what effects mesmerism would have on a dying person. He considers experimenting on his friend Ernest Valdemar, an author whom he had previously mesmerized, and who has recently been diagnosed with phthisis (tuberculosis).

Valdemar consents to the experiment and informs the narrator by letter that he will probably die in twenty-four hours. Valdemar's two physicians inform the narrator of their patient's poor condition. After confirming again that Valdemar is willing to be part of the experiment, the narrator comes back the next night with two nurses and a medical student as witnesses. Again, Valdemar insists he is willing to take part and asks the narrator to hurry, for fear he has "deferred it for too long". Valdemar is quickly mesmerized, just as the two physicians return and serve as additional witnesses. In a trance, he reports first that he is dying - then that he is dead. The narrator leaves him in a mesmeric state for seven months, checking on him daily. During this time Valdemar is without pulse, heartbeat or perceptible breathing, his skin cold and pale.

Finally, the narrator makes attempts to awaken Valdemar, asking questions which are answered with difficulty, his voice seemingly coming from his swollen, blackened tongue. In between trance and wakefulness, Valdemar's tongue begs to quickly either put him back to sleep or to wake him. As Valdemar's voice shouts "dead! dead!" repeatedly, the narrator takes Valdemar out of his trance; in the process, Valdemar's entire body immediately decays into a "nearly liquid mass of loathsome—of detestable putrescence."

 

Analysis

Poe uses particularly detailed descriptions and relatively high levels of gore in "The Facts in the Case of M. Valdemar," suggesting Poe deeply studied medical texts.[1] Valdemar's eyes at one point leak a "profuse outflowing of a yellowish ichor," for example, though Poe's imagery in the story is best summed up in its final lines: "...his whole frame at once — within the space of a single minute, or even less, shrunk—crumbled—absolutely rotted away beneath my hands. Upon the bed, before that whole company, there lay a nearly liquid mass of loathsome—of detestable putrescence." The disgusting imagery almost certainly inspired later fiction including that of H. P. Lovecraft.[2] Those final lines make up one of the most powerfully effective moments in Poe's work, incorporating shock, disgust, and uneasiness into one moment.[3] This ending shows that attempts to appropriate power over death will have hideous results[4] and, therefore, ultimately be unsuccessful.[5]

In Spanish, "Valdemar" roughly translates to "valley of the sea." The name suggests both solid and liquid states; this meaning is emphasized in the imagery in the story as Valdemar's body goes from its normal solid state to liquid in the final climactic lines.[6] Poe also uses teeth as a symbol; he typically uses teeth in his works to symbolize mortality. Other uses include the "sepulchral and disgusting" horse's teeth in "Metzengerstein," obsessing over teeth in "Berenice," and the sound of grating teeth in "Hop-Frog."[7]

Valdemar's death by tuberculosis, and attempts to postpone his death, may have been influenced by Poe's wife, Virginia.[2] At the time of this story's publication, she had been suffering from tuberculosis for four years.[1] Poe's extreme detail in "The Facts in the Case of M. Valdemar" may have been based on Virginia's actual suffering.[6] Additionally, Poe may have been inspired by Andrew Jackson Davis, whose lectures on mesmerism he had attended.[8] Valdemar's death, however, is not portrayed sentimentally as Poe's typical theme of "the death of a beautiful woman" portrayed in other works such as "Ligeia" and "Morella." The death of this male character contrasts as brutal and sensational.[9]

Reception and critical response

Many readers thought the story to be a scientific report. Robert Collyer, an English magnetic healer visiting Boston, wrote to Poe saying that he himself had performed a similar act to revive a man who had been pronounced dead (in truth, the man was actually a drunk sailor who was revived by a hot bath). Another Englishman, Thomas South, used the story as a case study in his book Early Magnetism in its Higher Relations to Humanity in 1846.[10] Medical student George C. Eveleth wrote to Poe: "I have strenuously held that it was true. But I tell you that I strongly suspect it for a hoax."[11] A Scottish reader named Archibald Ramsay wrote to Poe "as a believer in Mesmerism" asking about the story. "It details... most extraordinary circumstances", he wrote, concerned that it had been labeled a hoax. "For the sake of... Science and of truth", he requested an answer from Poe himself. Poe's response: "Hoax is precisely the word suited... Some few persons believe it—but I do not—and don't you."[12] He received many similar letters, replying to one such letter from a friend, he added the succinct postscript: "P.S. The 'Valdemar Case' was a hoax, of course."[13] In the Daily Tribune, editor Horace Greeley noted "that several good matter-of-fact citizens" were tricked by it but "whoever thought it a veracious recital must have the bump of Faith large, very large indeed."[14]

Elizabeth Barrett Browning wrote to Poe about the story to commend him on his ability of "making horrible improbabilities seem near and familiar."[15] Virginia poet Philip Pendleton Cooke also wrote to Poe, calling the story "the most damnable, vraisemblable, horrible, hair-lifting, shocking, ingenious chapter of fiction that any brain ever conceived or hand traced. That gelatinous, viscous sound of man's voice! there never was such an idea before."[16] Literary critic and professor George Edward Woodberry said that the story "for mere physical disgust and foul horror, has no rival in literature."[17] Scholar James M. Hutchisson refers to the story as "probably Poe's most gruesome tale."[18]

Rudyard Kipling, an admirer of Poe, references "The Facts in the Case of M. Valdemar" in his story "In the House of Suddhoo." The story suggests the disastrous results of sorcery in trying to save his sick son's life. One spell requires the head of a dead baby, which seems to speak. The narrator says, "Read Poe's account of the voice that came from the mesmerised dying man, and you will realise less than one half of the horror of that head's voice."[19]

Publication history

While editor of The Broadway Journal, Poe printed a letter from a New York physician named Dr. A. Sidney Doane which recounted a surgical operation performed while a patient was "in a magnetic sleep"; the letter served as inspiration for Poe's tale.[20] "The Facts in the Case of M. Valdemar" was published simultaneously in the December 20, 1845, issue of the Broadway Journal and the December 1845 issue of American Review: A Whig Journal[8]—the latter journal used the title "The Facts in M. Valdemar's Case."[21] It was also republished in England, first as a pamphlet edition as "Mesmerism in Articulo Mortis" and later as "The Last Days of M. Valdemar."[22]

Adaptations

"The Facts in the Case of M. Valdemar" was adapted into film in Argentina in 1960 as a segment of Masterpieces of Horror, first shown in the United States in 1965. It was also one of three Poe-inspired segments in the 1962 film Roger Corman-directed Tales of Terror.[8] It was later adapted by George A. Romero in Two Evil Eyes (1990). The radio drama series Radio Tales produced an adaptation of the story entitled "Edgar Allan Poe's Valdemar" (2000) for National Public Radio. The story was also loosely adapted into the black comedy The Mesmerist (2002).

References

1.^ Stashower, Daniel. The Beautiful Cigar Girl: Mary Rogers, Edgar Allan Poe, and the Invention of Murder. New York: Dutton, 2006: 275. ISBN 052594981X
2.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991: 294. ISBN 0060923318
3.^ Elmer, Jonathan. "Terminate or Liquidate? Poe Sensationalism, and the Sentimental Tradition" collected in The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman. Baltimore: The Johns Hopkins University Press, 1995: 116. ISBN 0801850258
4.^ Selley, April. "Poe and the Will" as collected in Poe and His Times: The Artist and His Milieu, edited by Benjamin Franklin Fisher IV. Baltimore: The Edgar Allan Poe Society, Inc., 1990: 97. ISBN 0961644923
5.^ Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005: 158. ISBN 1-57806-721-9
6.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992: 179. ISBN 0815410387
7.^ Kennedy, J. Gerald. Poe, Death, and the Life of Writing. New Haven, CT: Yale University Press, 1987: 79. ISBN 0300037732
8.^ Sova, Dawn B. Edgar Allan Poe: A to Z. New York City: Checkmark Books, 2001: 85. ISBN 081604161X
9.^ Elmer, Jonathan. "Terminate or Liquidate? Poe Sensationalism, and the Sentimental Tradition" collected in The American Face of Edgar Allan Poe, edited by Shawn Rosenheim and Stephen Rachman. Baltimore: The Johns Hopkins University Press, 1995: 108. ISBN 0801850258
10.^ Silverman, Kenneth. Edgar A. Poe: Mournful and Never-ending Remembrance. New York City: Harper Perennial, 1991. ISBN 0060923318 p. 294–295
11.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1189.
12.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1188–1189.
13.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 529. ISBN 0801857309
14.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. Boston: G. K. Hall and Co., 1987: 603. ISBN 0816187347
15.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 484. ISBN 0801857309
16.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. New York City: Cooper Square Press, 1992: 179-180. ISBN 0815410387
17.^ Phillips, Mary E. Edgar Allan Poe: The Man. Chicago: The John C. Winston Company, 1926: 1075.
18.^ Hutchisson, James M. Poe. Jackson: University Press of Mississippi, 2005: 157. ISBN 1-57806-721-9
19.^ Meyers, Jeffrey. Edgar Allan Poe: His Life and Legacy. Cooper Square Press, 1992: 291. ISBN 0815410387
20.^ Thomas, Dwight and David K. Jackson. The Poe Log: A Documentary Life of Edgar Allan Poe, 1809–1849. Boston: G. K. Hall and Co., 1987: 498. ISBN 0816187347
21.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 470. ISBN 0801857309
22.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998: 516. ISBN 0801857309

"The System of Doctor Tarr and Professor Fether" Published 1845

"The System of Doctor Tarr and Professor Fether" is a comedic short story written by American author Edgar Allan Poe.

Plot summary

The story follows an unnamed narrator who visits a mental institution in southern France (more accurately, a "Maison de Santé") known for a revolutionary new method of treating mental illnesses called the "system of soothing." A companion with whom he is travelling knows Monsieur Maillard, the originator of the system, and makes introductions before leaving the narrator. The narrator is shocked to learn that the "system of soothing" has been abandoned recently. He questions this, as he has heard of its success and popularity. Maillard tells him to "believe nothing you hear, and only one half that you see."

The narrator tours the grounds of the hospital and is invited to dinner. There, he is joined by twenty-five to thirty other people and a large, lavish spread of food. The other guests, he notices, are dressed somewhat oddly; though their clothes are well-made, they do not seem to fit the people very well. Most of them are female and were "bedecked with a profusion of jewelry, such as rings, bracelets and ear-rings, and wore their bosoms and arms shamefully bare." The table and the room were decorated with an excess of lit candles wherever it was possible to find a place for them. Dinner is also accompanied by musicians, playing "fiddles, fifes, trombones, and a drum" and, though they seem to entertain all others present, the narrator likens it to horrible noises. Upon the whole, the narrator says, there was much of the "bizarre" about everything at the dinner.

Conversation as they eat focuses on the patients that they have been treating. They demonstrate for the narrator the strange behavior they have witnessed, including patients who thought themselves a teapot, a donkey, cheese, champagne, a frog, snuff, a pumpkin, and others. Maillard occasionally tries to calm them down, and the narrator seems very concerned by their behavior and passionate imitations.

He then learns that this staff has replaced the system of soothing with a much more strict system, which Maillard says is based on the work of a "Doctor Tarr" and a "Professor Fether." The narrator says he is not familiar with their work, to the astonishment of the others. It is finally explained at this point why the previous system was abandoned. One "singular" incident, Maillard says, was when the patients, granted a large amount of liberty around the house, actually overthrew their doctors and nurses and usurped their positions, locking them up as lunatics. These lunatics were led by a man who claimed to have invented a better method of treating mental illness, and who allowed no visitors except for "a very stupid-looking young gentleman of whom he had no reason to be afraid." The narrator asks how the hospital staff rebelled and returned things to order. Just then, loud noises are heard and the actual hospital staff breaks from their confines. It is revealed that the dinner guests were, in fact, the patients who had just recently taken over. As part of their uprising, the inmates had treated the staff to "tarring and feathering." The keepers now put the real patients, including Monsieur Maillard, back in their cells, while the narrator, who is the "stupid-looking young gentleman" mentioned by Monsieur Maillard, admits he has yet to find any of the works of Dr. "Tarr" and Professor "Fether."

The "system of soothing"

Monsieur Maillard's system avoided all punishments and did not confine its patients. They were granted much freedom and were not forced to wear hospital gowns but instead "were permitted to roam about the house and grounds in the ordinary apparel of persons in right mind." Doctors "humored" their patients by never contradicting their fantasies or hallucinations. For example, if a man thought he was a chicken, doctors would treat him as a chicken, giving him corn to eat, etc.

The system was apparently very popular. Monsieur Maillard says that all the "Maisons de Santé" of France have adopted it. The narrator remarks that after the patient revolt is crushed, that system is reinstated at the asylum he visits--though modified in certain ways that are intended to reform it.

Historical background

At the time this story was written, care for the insane was a highly political issue. People were calling for asylum reform at a time when the mentally ill were treated like prisoners. It is also during a time when increased acquittals due to the insanity defense was being criticized for allowing criminals to avoid punishment.[1]

Publication history

"The System of Doctor Tarr and Professor Fether" was held by editors for several months before finally being published in the November 1845 issue of Graham's Magazine.[2]

Adaptations

One of the plays given at the Theatre du Grand Guignol in Paris was "Le Systéme du Dr Goudron et Pr Plume" (1903), adapted by André de Lorde.
The surreal Mexican film La Mansión de la Locura (1973), in English The Mansion of Madness, by Juan López Moctezuma.
Director S.F. Brownrigg's movie The Forgotten (1973), also known as Death Ward #13 and Don't Look in the Basement.
"(The System of) Dr. Tarr and Professor Fether" is the fifth track on Tales of Mystery and Imagination, an album by The Alan Parsons Project of music inspired by the works of Edgar Allan Poe.
Czech filmmaker Jan Švankmajer based part of his film Lunacy on this story. The film was also inspired by Poe's 1844 short story, "The Premature Burial," and the works of the Marquis de Sade.
A one-act opera called A Method for Madness (1999), composed by David S. Bernstein, American composer, and libretto by Charles Kondek.

References

1.^ Cleman, John. "Irresistible Impulses: Edgar Allan Poe and the Insanity Defense," collected in Bloom's BioCritiques: Edgar Allan Poe, edited by Harold Bloom. Philadelphia: Chelsea House Publishers, 2001. p. 66-7 ISBN 0-7910-6173-6
2.^ Quinn, Arthur Hobson. Edgar Allan Poe: A Critical Biography. Baltimore: The Johns Hopkins University Press, 1998. p. 469. ISBN 0801857309

Deathday: Robert Bloch 1994 - Father of PSYCHO

(This photo is from my 1989 interview with RB.)

Robert Albert Bloch (April 5, 1917 – September 23, 1994) was a prolific American writer, primarily of crime, horror and science fiction.

Bloch wrote hundreds of short stories and over twenty novels, usually crime fiction, science fiction and, perhaps most influentially, horror fiction (Psycho). He was one of the youngest members of the Lovecraft Circle. H. P. Lovecraft was Bloch's mentor and one of the first to seriously encourage his talent. He was a contributor to pulp magazines such as Weird Tales in his early career, and was also a prolific screenwriter. He was the recipient of the Hugo Award (for his story "That Hell-Bound Train"), the Bram Stoker Award, and the World Fantasy Award. He served a term as president of the Mystery Writers of America. Robert Bloch was also a major contributor to science fiction fanzines and fandom in general. In the 1940s, he created the humorous character Lefty Feep in a story for Fantastic Adventures. He also worked for a time in local vaudeville and tried to break into writing for nationally-known performers. He was a good friend of the science fiction writer Stanley G. Weinbaum. In the 1960s, he wrote three scripts for Star Trek. In 2008, The Library of America selected Bloch’s story “The Shambles of Ed Gein” for inclusion in its two-century retrospective of American True Crime.

Life

Bloch was born in Chicago, the son of Raphael "Ray" Bloch (1884 - 1952), a bank cashier, and his wife Stella Loeb (1880 - 1944), a social worker, both of German-Jewish descent.

Bloch died in 1994 in Los Angeles. He was cremated and interred in the Room of Prayer columbarium at Westwood Village Memorial Park Cemetery in Los Angeles.

Career

During the 1930s, Bloch was an avid reader of the pulp magazine Weird Tales. H. P. Lovecraft, a frequent contributor to that magazine, became one of his favorite writers. As a teenager, Bloch befriended and corresponded with Lovecraft, who gave the promising youngster advice on his own fiction-writing efforts.[1] Bloch's first professional sales, at the age of just seventeen, were to Weird Tales with the short stories "The Feast in the Abbey" and "The Secret in the Tomb". Bloch's early stories were strongly influenced by Lovecraft. Indeed, a number of his stories were set in, and extended, the world of Lovecraft's Cthulhu Mythos. It was Bloch who invented, for example, the oft-cited Mythos texts De Vermis Mysteriis and Cultes des Goules.

The young Bloch appears, thinly disguised, as the character "Robert Blake" in Lovecraft's story "The Haunter of the Dark", which is dedicated to Bloch. In this story, Lovecraft kills off the Bloch character, repaying a courtesy Bloch earlier paid Lovecraft with his tale "The Shambler from the Stars", in which the Lovecraft-inspired figure dies; the story goes so far as to use Bloch's then-current street address in Milwaukee. (Bloch even had a signed certificate from Lovecraft [and some of his creations] giving Bloch permission to kill Lovecraft off in a story.) Bloch later wrote a third tale, "The Shadow From the Steeple," picking up where "The Haunter of the Dark" finished.

After Lovecraft's death in 1937, Bloch continued writing for Weird Tales, where he became one of its most popular authors. He also began contributing to other pulps, such as the science fiction magazine Amazing Stories. He gradually evolved away from Lovecraftian imitations towards a unique style of his own. One of the first distinctly "Blochian" stories was "Yours Truly, Jack the Ripper", which was published in Weird Tales in 1943. The story was Bloch's take on the Jack the Ripper legend, and was filled out with more genuine factual details of the case than many other fictional treatments.[2] Bloch followed up this story with a number of others in a similar vein dealing with half-historic, half-legendary figures such as the Man in the Iron Mask ("Iron Mask," 1944), the Marquis de Sade ("The Skull of the Marquis de Sade," 1945) and Lizzie Borden ("Lizzie Borden Took an Axe...," 1946).

Campaign manager for Carl Zeidler

In 1939, Bloch was contacted by James Doolittle, who was managing the campaign for a little-known assistant attorney in Milwaukee, Wisconsin named Carl Zeidler. He was asked to work on his speechwriting, advertising, and photo ops, in collaboration with Harold Gauer. They created elaborate campaign shows; in Bloch's 1993 autobiography, Once Around the Bloch, he gives an inside account of the campaign, and the innovations he and Gauer came up with — for instance, the original releasing-balloons-from-the-ceiling shtick. He comments bitterly on how, after Zeidler's victory, they were ignored and not even paid their promised salaries. He ends the story with a wryly philosophical point:

If Carl Zeidler had not asked Jim Doolittle to manage his campaign, Doolittle would never have contacted me about it. And the only reason Doolittle knew me to begin with was because he read my yarn ("The Cloak") in Unknown. Rattling this chain of circumstances, one may stretch it a bit further. If I had not written a little vampire story called "The Cloak," Carl Zeidler might never have become mayor of Milwaukee.

Psycho and screenwriting

Bloch became most famous as the author of the novel Psycho, one of the first examples of modern urban horror relying on realism rather than the supernatural[citation needed], which was adapted by Joseph Stefano into the screenplay for the 1960 film of the same name, directed by Alfred Hitchcock. He had written an earlier split-personality short story, "The Real Bad Friend," which appeared in the February, 1957 Mike Shayne Mystery Magazine, that foreshadowed the 1959 novel Psycho. His best-known work as a screenwriter is probably The Night Walker (1964), which he wrote for William Castle, although he also penned several scripts for the original series of Star Trek including "What Are Little Girls Made Of?," "Wolf in the Fold," and "Catspaw." He seemed happiest, among his television work, with his contributions to the Boris Karloff-hosted series Thriller.

Bloch also contributed to Harlan Ellison's science fiction anthology, Dangerous Visions. His story, "A Toy for Juliette," evoked both the Marquis de Sade and Jack the Ripper. In fact, Ellison's own contribution to the anthology was a direct follow-up of Bloch's, and was titled "The Prowler in the City at the Edge of the World."

Writings on Bloch

An early reference work by Australia's Graeme Flanagan, Robert Bloch: A Bio-Bibliography (1979) includes valuable material including interviews with Bloch and memoirs by fellow writers such as Harlan Ellison, Mary Elizabeth Counselman and Fritz Leiber.

Randall D. Larson has authored three reference books about Robert Bloch: The Robert Bloch Reader's Guide (1986, a literary analysis of Bloch's entire output through 1986), The Complete Robert Bloch (1986, an illustrated bibliography of Bloch's writing), and The Robert Bloch Companion (1986, collected interviews). In addition, an issue of Paperback Parade magazine (No. 39, August 1994) contains two articles by Larson on collecting Bloch - "Paperblochs: Robert Bloch in Paperback" and "Robert Bloch in Paperback."

There is an essay on Bloch's work, with particular reference to the novels Psycho and The Scarf, in S. T. Joshi's book The Modern Weird Tale (2001). Joshi examines Bloch's literary relationship with Lovecraft in a further essay in The Evolution of the Weird Tale (2004).

A new essay collection focusing on a range of Bloch's work is Robert Bloch: the Man Who Collected Psychos, edited by Benjamin J. Szumskyj (McFarland, 2009).

Bibliography

Novels

The Scarf (1947, rev. 1966)
Spiderweb (1954)
The Kidnapper (1954)
The Will to Kill (1954)
Shooting Star (1958) (note: published in a double volume with the ss collection Terror in the Night)
This Crowded Earth (1958)
Psycho (1959) (adapted into the 1960 film, Psycho, directed by Alfred Hitchcock; later remade in 1998 by Gus Van Sant)
The Dead Beat (1960)
Firebug (1961)
The Couch (1962)
Terror (1962)
Ladies Day / This Crowded Earth (1968)
The Star Stalker (1968)
The Todd Dossier (1969)
Sneak Preview (1971)
It's All in Your Mind (1971)
Night World (1972)
American Gothic (1974)
Strange Eons (1978) (a Cthulhu Mythos novel)
There Is a Serpent in Eden (1979)
Psycho II (1982) (unrelated to the film of the same name)
Night of the Ripper (1984)
Unholy Trinity (1986) (collects The Scarf, The Couch and The Dead Beat)
Lori (1989)
Screams: Three Novels of Suspense (collects The Will to Kill, Firebug and The Star Stalker)
Psycho House (1990) (unrelated to the films Psycho II, Psycho III or Psycho IV: The Beginning)
The Jekyll Legacy (1991)
Yours Truly, Jack the Ripper (1991) (Pulphouse; a 100-copy hardbound signed edition of Bloch's famous short story)
The Thing (1993) (Pretentious Press; a limited edition of 85 copies, only 9 bound in cloth, of the author's first appearance in print - a parody of H.P. Lovecraft which originally appeared in the April 1932 issue of The Quill, his Lincoln High School literary magazine)
Psycho - The 35th Anniversary Edition (1994) (Gauntlet Press; limited edition of 500 copies; the last work to be signed by Bloch before his death; includes a new intro by Richard Matheson and a new Afterword by Ray Bradbury)

Short-story collections

The Opener of the Way (1945)
Sea Kissed (1945)
Terror in the Night (1958) (note: published in a double volume with the novel Shooting Star)
Pleasant Dreams: Nightmares (1960)
Blood Runs Cold (1961)
Nightmares (1961)
More Nightmares (1961)
Yours Truly, Jack the Ripper (1962)
Atoms and Evil (1962)
Horror 7 (1963)
Bogey Men (1963)
House of the Hatchet (1965)
The Skull of the Marquis de Sade (1965)
Tales in a Jugular Vein (1965)
Chamber of Horrors (1966)
The Living Demons (1967)
Dragons and Nightmares (1968)
Bloch and Bradbury (1969)
Fear Today, Gone Tomorrow (1971)
House of the Hatchet (1976)
The King of Terrors (1977)
The Best of Robert Bloch (1977)
Cold Chills (1977)
Out of the Mouths of Graves (1978)
Such Stuff as Screams Are Made Of (1979)
Mysteries of the Worm (1981)
Midnight Pleasures (1987)
Lost in Space and Time With Lefty Feep (1987)
The Complete Stories of Robert Bloch: Volume 1: Final Reckonings (1987)
The Complete Stories of Robert Bloch: Volume 2: Bitter Ends (1987)
The Complete Stories of Robert Bloch: Volume 3: Last Rites (1987)
Fear and Trembling (1989)
Mysteries of the Worm (rev. 1993) from Chaosium books
The Early Fears (1994)
Flowers from the Moon and Other Lunacies (1998)
The Lost Bloch: Volume 1: The Devil With You! (1999)
The Lost Bloch: Volume 2: Hell on Earth (2000)
The Lost Bloch: Volume 3: Crimes and Punishments (2002)
The Reader's Bloch: Volume 1: The Fear Planet and Other Unusual Destinations (2005)
The Reader's Bloch: Volume 2: Skeleton in the Closet and Other Stories (2009)

Non-fiction

The Eighth Stage of Fandom (1962)
Out of My Head (1986)
Once Around the Bloch: An Unauthorized Autobiography (1993)
Robert Bloch: Appreciations of the Master (1995)

Movies

The following is a list of films based on Bloch's work. For some of these he wrote the original screenplay; for others, he supplied the story or a novel (as in the case of Psycho) on which the screenplay was based.

Psycho (1960)
The Couch (1962)
The Cabinet of Dr Caligari (1962)
Strait-Jacket (1964)
The Night Walker (1964)
The Skull (1965)
The Psychopath (1966)
Torture Garden (1967)
The Deadly Bees (1967)
The House That Dripped Blood (1970)
Asylum (1972)
The Cat Creature (Tv movie 1973)
The Dead Don't Die (Tv movie 1974)
The Amazing Captain Nemo (1978)
Psycho (1998)

References

1.^ Haining, Peter (1975). The Fantastic Pulps. Victor Gollancz Ltd. ISBN 0-575-02000-8.
2.^ Zinna, Eduardo. "Yours Truly, Jack the Ripper". Casebook: Jack the Ripper.

House of Usher (1960) Roger Corman

Director: Roger Corman
Producer: Roger Corman and James H. Nicholson
Stars: Vincent Price, Mark Damon, Myrna Fahey, and Harry Ellerbe

House of Usher (1960) is an American International Pictures horror film starring Vincent Price, Myrna Fahey, and Mark Damon: the story is about a New England family cursed with madness, criminal conduct, and debauchery. The film was directed by Roger Corman and its screenplay written by Richard Matheson from the short story "The Fall of the House of Usher" by American author Edgar Allan Poe. The film was the first of eight Corman/Poe feature films. In 2005, the film was listed with the United States National Film Registry as being deemed "culturally, historically, or aesthetically significant." The film is also known as Fall of the House of Usher and The Mysterious House of Usher.

The Fall of the House of Usher (1928) James Sibley Watson & Melville Webber

Directed by James Sibley Watson and Melville Webber

Psychadelic at times, this unusual and memorable movie version of Poe's "The Fall of the House of Usher" has some creative details, and although it is one of the more obscure versions of the story, it offers a distinctive look at a couple of its many interesting aspects. The style is deliberately murky, and it has not so much as an inter-title, so that you do need to know at least the basic plot in order to understand what is happening.

The Fall of the House of Usher (1928) Directed by Jean Epstein

Director: Jean Epstein

English dubs over French cards in this haunting version of Poe's classic tale. A stranger called Allan (Charles Lamy) goes to an inn and requests transportation to the House of Usher. The locals remain reluctant, but he gets a coach to transport him to the place. He is the sole friend of Roderick Usher (Jean Debucourt), who leaves in the eerie house with his sick wife Madeleine Usher (Marguerite Gance) and her doctor (Fournez-Goffard). Madeleine is the beloved muse and model and is being painted by Roderick. When she dies, Roderick does not accept her death, and in a dark night, Madeleine returns.

Web of the Spider (1971) Klaus Kinski plays Poe

Web of the Spider (Italian: Nella stretta morsa del ragno) is the title of a 1971 Italian horror film directed by Antonio Margheriti, using the pseudonym Anthony M. Dawson. This film is also known as And Comes the Dawn... But Colored Red, Dracula im Schloß des Schreckens, Dracula in the Castle of Blood, E venne l'alba... ma tinto di rosse, Edgar Poe chez les morts vivants, Les Fantômes de Hurlevent, In the Grip of the Spider, and Le Prisonnier de l'araignée.

Klaus Kinski plays Edgar Allan Poe.

It is a remake of the 1964 film Castle of Blood, also directed by Margheriti.

Release date: August 26, 1971

Plot

It begins with Edgar Allan Poe (Klaus Kinski), gone insane, trying to confirm his story about the ghosts by checking out their tombs. However, he doesn't go too far to avoid being haunted and killed. He describes his story in horror accent, trying to make the people believe him. As of later, a journalist named Alan Foster (Anthony Franciosa), has visited Poe to drive him out of madness. But, he is forced to challenge the horror writer on the authenticity of his stories, which leads to him accepting a bet from Lord Blackwood to spend the night in a haunted castle on All Soul's Eve. At first, in very effective and horrifying nature, Foster is surprised by ghosts who appear to be half-humans at that moment. Later, they drive him insane by playing his mind like patsy, ghosts of the murdered inhabitants appear to him throughout the night, re-enacting the events that lead to their deaths. As of the ghosts he meets, there was Elisabeth Blackwood (Michèle Mercier) who falls in love with Foster, the annoying and well-being hated Julia (Karin Field), the rough and criminal tipped William Perkins (Silvano Tranquilli) and the most despicable one of all, Dr. Carmus (Peter Carsten). In near the end of the film, the ghosts reveal their true nature. They weren't actually ghosts, but they were vampires with powers of ghosts, they need Foster's blood in order to maintain their existence. Because of she loved him, Elisabeth tried to save Foster by aiding his escape. He succeeded in escaping the castle, but not the garden... It was his stupidity that killed him. But, at least he wasn't transformed to a vampire, his death was sudden, he was stabbed by the razors which existed on the main gate when he didn't focus on his movements, pushed the door hardly until it reacted and smashed him between the two gates.

Cast

Anthony Franciosa - Alan Foster
Michèle Mercier - Elisabeth Blackwood
Klaus Kinski - Edgar Allan Poe
Peter Carsten - Dr. Carmus
Silvano Tranquilli - William Perkins
Karin Field - Julia
Raf Baldassarre - Herbert
Irina Maleeva - Elsie Perkins
Enrico Osterman - Lord Thomas Blackwood
Marco Bonetti - Maurice
Vittorio Fanfoni
Carla Mancini
Paolo Gozlino

The Black Cat (1966) - Trailer

Preview to an updating of Edgar Allan Poe's classic tale set in the mid-60s released by Hemisphere Pictures.

Lost World Media's "The Gold Bug"

LOST WORLD MEDIA:

"Short film made in 72 Hours for a competition in October 2009. The festival coordinators passed out the secret criteria (similar to the 48 Hour Festivals) on Thursday night at 9PM. Things we had to include in the film were Edgar Allan Poe and a man staring at spilled toothpicks. The film was due the following Sunday at 9PM."

The Man with a Cloak (1951) Joseph Cotten Plays Poe

The Man with a Cloak is a 1951 drama film directed by Fletcher Markle and starring Joseph Cotten, Barbara Stanwyck, Louis Calhern, and Leslie Caron. It was based on a short story by John Dickson Carr, "The Gentleman from Paris."

Plot

Martin and Lorna consider the changing situation.In 1848 New York, a young Frenchwoman, Madeline Minot (Caron), arrives, looking for expatriate Charles Theverner (Calhern). She is initially turned away at the door by his mistress and housekeeper, Lorna Bounty (Stanwyck), but persists and presents Theverner with a letter of introduction from his only grandson, Paul, a romantic revolutionary with whom Madeline is in love.

Theverner, a wealthy, old, dissipated rake, correctly guesses Madeline's purpose in visiting him; she has been sent by Paul to ask him for money to support the revolution in France. Lorna, assisted by hulking butler Martin (Joe De Santis) and cook Mrs. Flynn (Margaret Wycherly) are also after Theverner's fortune, having waited for the old man to die for ten years. To that end, the trio let Theverner drink as much as he wants, contrary to the instructions of Dr. Roland (Nicholas Joy), and replace some prescribed medicine.

Madeline has one ally, Dupin (Cotten), an impecunious, heavy-drinking poet (to whom the film's title refers). A chance acquaintance, she turns to him when she suspects the medicine has been poisoned. They take it to a pharmacist, who finds it to be sugar water. Dupin becomes acquainted with Lorna and recognizes her as a former actress who achieved fame with Theverner's backing.

During her stay in Theverner's townhouse, Madeline softens the old reprobate's heart. He summons his lawyer, Durand (Richard Hale), and changes his will. Then he secretly puts arsenic in his drink, ready to end his life. However, he suffers a stroke that paralyzes him, leaving him only partial control of his face. He watches helplessly as Durand drinks the fatal brandy. The will is then snatched up by Theverner's pet raven and hidden in the fireplace. Before the old man dies, he tries to pass along to Dupin the location of the will solely with his eyes.

Lorna guesses that there is a new will and its contents. After the funeral, she and her accomplices search desperately for it without success. Dupin is more perceptive; from the clues, he finds and retrieves the document, though he has to fight Martin off to escape the house alive. When the will is read, it reveals that Paul does inherit the money; Lorna, Martin and Mrs. Flynn are left only the house.

At the end of the film, Madeline goes looking for Dupin to thank him. Dupin's generous bartender Flaherty (Jim Backus) tells her he has gone, leaving only a seemingly worthless IOU for his sizable bar bill. On one side is a draft of a verse about a woman named Annabel Lee, and on the other, the IOU's signature, which reveals Dupin's real name: Edgar Allan Poe.

Casting

Markle originally wanted Marlene Dietrich for the role of the scheming maid and Lionel Barrymore for the ailing millionaire, but Barrymore was too ill and when Marlene said no, Stanwyck jumped in. During filming, Stanwyck was going through a difficult divorce with actor husband Robert Taylor.

Music

The dramatic score for the film was composed and conducted by David Raksin. In his score, he wrote for an uncommon ensemble of instruments - 2 flutes, 1 oboe, 2 clarinets, 1 bass clarinet, 1 bassoon; 1 horn, 1 trumpet, 1 trombone; 1 percussion, and a solo viola d’amore - and included a musical clue to the identity of Dupin. He also employed a tone row in the main title theme, claimed to be the first used in film.[1]

"Another Yesterday," the song performed onscreen by Barbara Stanwyck, was written by Earl K. Brent and dubbed by vocalist Harriet Lee.[1]

The complete score by Raksin was issued on cd in 2009, on Film Score Monthly records.

Cinematic clues as to Dupin's real identity

He shares the same name as Poe's famous detective.
He is a heavy drinker.
He runs up a large bar bill which he cannot pay.
The presence of a raven, as a pet of the old man.

References

1.^ Kaplan, Alexander (2009). Release notes for David Raksin at MGM (1950-1957) by David Raksin (CD online notes). Los Angeles, California, U.S.A.: Film Score Monthly (Vol. 12, No. 2).

The Loves of Edgar Allan Poe (1942)

The Loves of Edgar Allan Poe (1942)

Poe is played by John Shepherd (later known as Shepperd Strudwick). Stunning Linda Darnell plays Virginia Clemm. A quite young Henry Morgan (billed as Henry Morgan) aka MASH's "Colonel Potter" shows up as Ebenezer Burling

IMDB Plot Summary:

"Edgar Allan Poe led an unhappy childhood, broken only by the unceasing devotion of his foster mother, Mrs. Frances Allan, whose loving ministrations gave him courage to carry out his desire to write. His first love was Elmira Royster, and though she married another while he was at the University of Virginia, he could never purge his thoughts of her and, under the influence of her spell, he poured out the deepest passions of his heart. After a discouraging period during which he was disowned by his foster father and lost his appointment to West Point, he found the love that tamed his restless heart with Virginia Clemm. After he and Virginia married, Poe did his greatest creative work, writing for the Southern Literary Messenger and Graham's Magazine."

Plot summary written by Les Adams on IMDB.

THE RAVEN (1963 film)

The Raven (1963) is a horror film produced and directed by Roger Corman.[1] The film stars Vincent Price, Peter Lorre, and Boris Karloff as a trio of rival sorcerers. Part of a series of Edgar Allan Poe adaptations produced by Corman through American International Pictures, the film was written by Richard Matheson based on references to Poe's poem "The Raven." Nominally in the horror genre, it is more appropriately classified as a B movie horror-comedy.

Three decades earlier, Karloff had appeared in another film with the same title, Lew Landers' 1935 horror film The Raven with Béla Lugosi. Aside from the title, the two films bear no resemblance to one another.

A novelization of the film was written by Eunice Sudak adapted from Richard Matheson's screenplay and published by Lancer Books in paperback.

Plot

The sorcerer Dr. Erasmus Craven has been mourning the death of his wife Lenore for over two years, much to the chagrin of his daughter Estelle. One night he is visited by a raven, who happens to be a transformed wizard, Dr. Bedlo. Together they brew a potion that restores Bedlo to his old self. Bedlo explains he had been transformed by the evil Dr. Scarabus in an unfair duel, and both decide to see Scarabus, Bedlo to exact revenge and Craven to look for his wife's ghost, which Bedlo reportedly saw at Scarabus' castle. After fighting off the attack of Craven's coachman, who apparently acted under the influence of Scarabus, they set out to the castle, joined by Craven's daughter Estelle and Bedlo's son Rexford.

At the castle, Scarabus greets his guests with false friendship, and Bedlo is apparently killed as he conjures a storm in a last act of defiance against his nemesis. At night, Rexford finds him alive and well, hiding in the castle. Craven, meanwhile, is visited and tormented by Lenore, who is revealed to be alive and well too, having faked her death two years before to move away with Scarabus. As Craven, Estelle, Rexford and Bedlo try to escape the castle, Scarabus stops them, and they are tied and locked up. Bedlo panics and flees away in raven form, having convinced Scarabus to turn him back into bird form rather than face torture. As Craven is confronted with the choice of Estelle's torture or of him giving away the secrets of his "hand magic," Bedlo flies back in, frees Rexford, and together aid Craven.

Craven and Scarabus then seat facing each other and engage in a magic duel. After a lengthy performance of narrow escapes and derision, Craven defeats Scarabus, and escapes with his friends after rejecting Lenore, who tries to reconcile with him after alleging she had been "under a spell". The castle then tumbles down on Scarabus and his mistress, but they are shown to survive, though Scarabus has been stripped of his magic.

Rexford and Estelle retreat alone, while Bedlo tries to convince Craven to turn him back to human form once more. Craven tells him to shut his beak and recites the famous lines from Edgar Allan Poe's poem: "Quoth the raven - nevermore."

Cast

Vincent Price as Dr. Esramus Craven
Peter Lorre as Dr. Adolphus Bedlo
Boris Karloff as Dr. Scarabus
Jack Nicholson as Rexford Bedlo
Hazel Court as Lenore Craven
Olive Sturgess as Estelle Craven

References

1.^ "The Raven (1963)". Internet Movie Database. http://www.imdb.com/title/tt0057449/. Retrieved 17 June 2010.

THE RAVEN (1935 film)

The Raven (1935) is a horror film starring Boris Karloff and Béla Lugosi, and directed by Lew Landers. It revolves around Edgar Allan Poe's famous poem, featuring Lugosi as a Poe-obsessed mad surgeon with a torture chamber in his basement and Karloff as a fugitive murderer desperately on the run from the police. Lugosi had the larger role, but Karloff received top billing, using only his last name.

Almost three decades later, Karloff also appeared in another film with the same title, Roger Corman's 1963 comedy The Raven with Vincent Price, Peter Lorre and Jack Nicholson. Aside from the title, the two films bear no resemblance to one another.

Plot summary

After pretty Jean Thatcher (Ware) has been injured in a car accident, her father, Judge Thatcher (Hinds) and beau Jerry (Matthews) implore retired surgeon Dr. Richard Vollin (Lugosi) to perform a delicate operation to restore her to health. Vollin agrees and is successful; he befriends the spirited and grateful Jean, in the process revealing his passion for all things related to Edgar Allan Poe, including his collection of torture devices inspired by Poe's works (such as a pit, pendulum with scythe, shrinking room, etc).

After Vollin reveals his growing love for Jean to her father, the Judge quickly discourages him from the affair. Angered, Vollin hatches a plan when Edmund Bateman (Karloff), a murderer on the run, comes to his home asking for a new face so he may live in anonymity. Vollin admits to not being a plastic surgeon, but says he can help Bateman, and asks him to help in exacting revenge on the Thatchers, which he refuses. Vollin performs the surgery, but instead turns Bateman into a disfigured monster, promising only to operate again on Bateman when Vollin's revenge is exacted. Bateman finally reluctantly agrees.

Vollin hosts a dinner party, among which Jean, Jerry, and the Judge are guests. One by one, the guests are caught in the Poe-inspired traps. Ultimately, Bateman is shot by Vollin as he rescues Jean and Jerry, but throws Vollin in to the shrinking room where he perishes, and the guests escape.

Marketing

Universal's pressbook heavily focused on Karloff, calling him "the uncanny master of make-up," as well as the connection to Poe. "Was Edgar Allan Poe a mental derelict?" it asks. The pressbook suggests that Poe's characters were "but a reflection of himself." Universal also suggested that cinema owners write letters to local high schools and colleges, urging their teachers to suggest the film to students.[1]

Reception and reputation

Too strong for 1935 tastes, with its themes of torture, disfigurement and grisly revenge, the film did not do particularly well at the box office during its initial release (much like another 1935 horror movie, MGM's Mad Love, starring Peter Lorre), and indirectly led to a temporary ban on horror films in England. With the genre no longer economically viable, horror went out of vogue. This proved a devastating development at the time for Lugosi, who found himself losing work and struggling to support his family. Universal Pictures changed hands in 1936, and the new management was less interested for the moment in the box office novelty of the macabre.

Outside of being rivals in horror films of the time, with Lugosi resenting Karloff's spectacular success in the wake of playing the role of Frankenstein's monster, both men were united in getting the fledgling Screen Actors Guild off the ground in the mid-1930s. During the production of The Raven Lugosi encouraged four additional members of the supporting cast to sign with the guild.

Cast

Boris Karloff as Edmund Bateman
Béla Lugosi as Richard Vollin
Lester Matthews as Jerry Halden
Irene Ware as Jean Thatcher
Samuel S. Hinds as Judge Thatcher
Spencer Charters as Bertram Grant
Inez Courtney as Mary Burns
Ian Wolfe as Geoffrey
Maidel Turner as Mrs. Harriet Grant

References

1.^ Smith, Don G. The Poe Cinema: A Critical Filmography. McFarland & Company, 1999. p. 57-8 ISBN 0-7864-1703-X

THE RAVEN (1915 film)

The Raven is a stylized silent 1915 movie biography of Edgar Allan Poe starring Henry B. Walthall as Poe. The movie was written and directed by Charles Brabin from a novel and play by George Cochran Hazelton.

Plot summary

The film begins by tracing Poe's ancestral heritage before Poe himself is born. After the loss of his parents, Poe is taken in by the John and Francis Allan in Richmond, Virginia. The film then jumps ahead about 15 years to Poe's time at the University of Virginia. Due to debts from playing cards and a growing interest in wine, Poe begins to have difficulties. He hallucinates that he has killed a man in a pistol duel.

Poe meets Virginia and they spend a day together, riding a horse and sitting "beside the glassy pool of romance." He tells her a fairy tale, a raven perching on Poe's shoulder as he finishes the story, before they go on a walk together. Upon seeing a black slave (listed in the credits only as "Negro") being whipped, he buys the slave with an "I.O.U." for $600.00. The slave's former owner then goes to John Allan to collect the debt. Allan calls Poe a "scoundrel" for causing so many bills.

After having a drink with his "chum" Tony, Poe goes to visit Virginia. Tony follows shortly after and the two compete for Virginia's affection. Later, Virginia says she will choose the man who guesses which hand holds a wreath behind her back. Poe allows Tony to go first and, though he guesses correctly, Virginia secretly switches the wreath to the other hand so that Poe can win. Shortly after, in front of Tony and Virginia, Allan questions Poe's spending habits. Allan causes quite a scene, despite his wife's attempts to calm him. Poe is asked to leave the Allan family but Virginia offers to come along. Poe's recently-purchased slave comes along as well.

Poe has an alcohol-induced hallucination that recreates his poem (and the film's namesake) "The Raven". As Poe sits alone, he hears a tapping at the chamber door. The door knocker moves on its own and Poe thinks he sees the outline of a large, black bird. As Poe stumbles outside, the word "wine" appearing on a rock he braces himself against, he sees a ghost. As he reaches for another sip of wine, a human skull appears in place of the glass. Finally, a raven makes its way into the room, repeating the word "Nevermore" as Poe attempts to talk to it.

Poe, in Fordham, New York, is in "dire poverty" along with Virginia and her mother Maria. Virginia has a terrible coughing fit, a sign of her tuberculosis. Poe, desperate for money, unsuccessfully attempts to sell some of his work to George Rex Graham. Virginia, bothered by the cold winter weather, is kept warm by Poe's old coat from his time at West Point and from their pet black cat. She dies the next day, causing Poe great grief.

Sarah Helen Whitman is introduced at the end of the film, assisting an elderly couple. She and Poe, however, do not cross paths.

Production

Henry Walthall was granted the lead role as Edgar Allan Poe after previously playing the same author in D. W. Griffith's The Avenging Conscience in 1914. Because of the repeat role, he was dubbed "the image of Poe."[1]

Cast

Henry B. Walthall ... Edgar Allan Poe
Warda Howard ... Virginia Clemm/Helen Whitman/The Lost Lenore/A Spirit
Ernest Maupain ... John Allan
Eleanor Thompson ... Mrs. Allan
Marian Skinner ... Mrs. Clemm (as Marion Skinner)
Harry Dunkinson ... Tony
Grant Foreman ... George Rex Graham
Hugh Thompson ... David Poe, Jr. (as Hugh E. Thompson)
Peggy Meredith ... Mrs. Hopkins Poe
Frank Hamilton ... David Poe, Sr.
Billy Robinson ... Joseph Reed
Bert Weston ... Negro
Charles Harris ... Mr. Pelham (as Charles K. Harris)

References

1.^ Smith, Don G. The Poe Cinema: A Critical Filmography. Jefferson, North Carolina: McFarland and Company, 1999. p. 20 ISBN 078641703X

THE DEATH OF POE (2006 film)

The Death of Poe is a 2006 independent film that tells the tragic story of the mysterious disappearance and death of the American author Edgar Allan Poe. The film is shot mostly in black-and-white with occasional color sequences.

Plot summary

After a textual montage summarizing Edgar Allan Poe's life, the film begins in late September 1849 with Poe awakening from a hallucination where he is buried alive. He prepares to take a trip to New York City via a ferry steamboat from Richmond, Virginia, to Baltimore, and from there, another ferry to New York City itself. He discusses his plans to marry his childhood sweetheart Sarah Elmira Royster with a stranger taking the same steamboat, who suggests that he meet with a few potential investors for his planned magazine The Stylus. Though Poe had intended only to pass through Baltimore, he agrees to meet the investors who, one by one, turn down his request for funding.

Poe is depicted as having some type of memory loss, which is first evident when he offers to pay his boat fare twice after forgetting he had already paid. In Baltimore, he more than once forgets the arrangements he has made at his hotel as his stay in the city is extended. One night, he chooses to dine in a local tavern rather than at the hotel. There, he meets an old friend from his days at West Point. In desperation, he asks his former classmate and the classmate's companion for money to help start a magazine, saying proudly he has already raised $1,000. Poe leaves the tavern to retrieve his prospectus for the magazine. His classmate follows him and beats him up to steal the $1,000 he had collected.

An injured and delirious Poe is then found by organizers of a cooping ring. The author, along with several others, are forced to multiple polling locations around Baltimore to place multiple votes for the candidate for mayor. A couple of victims of the scam die amidst the brutality of their captors.

Afterwards, Poe is released and he eventually collapses in the street and is found by a local tavern owner. The man calls for Poe's uncle Henry Herring and Dr. Joseph Snodgrass. The men discuss what to do with the incoherent, half-conscious Poe. Snodgrass assumes he is drunk and suggests they let him sleep it off - a theory the film seems to dispute by showing him early in the film declining offered alcohol several times. Herring becomes more concerned and demands Poe be taken to Washington College Hospital, despite the expense.

At the hospital, Dr. John Moran tends to Poe, unable to accurately determine his situation or the cause of his failing health, or how he received his injuries. He muses to his wife, Mrs. Moran, that he does not want to be known as the physician who killed Edgar Allan Poe. Over the next three days, the bedridden Poe is kept in seclusion in a private room as Moran denies Poe visitors, including his Baltimore cousin Nielson Poe, who becomes convinced that his cousin is about to die. Poe ultimately does die after one final hallucination or perhaps a flashback where he sees his dead wife Virginia Clemm.

Production

The film was shot on location in Baltimore and Virginia, and at the studios of Redfield Arts [1]. Principal photography took place in June and July 2005.

Cast

Mark Redfield Edgar Allan Poe
Kevin G. Shinnick Dr. John Moran
Jennifer Rouse Mrs. Moran
Tony Tsendeas Neilson Poe
Kimberly Hannold Virginia Clemm
Wayne Shipley Henry Herring
Jonathon Ruckman Joseph Walker
George Stover Thadeus and Zacharlah Wainwright
J.R. Lyston The Irishman
Kurt Bouschell The Proud Father
Sandra Lynn O'Brien The Talented Daughter
Chuck Richards The Stranger in Richmond
Deborah L. Murphy Maria Clemm
Dave Ellis Cornelius Ryan
Jimmyo Burril Election Gang Leader
Thomas E. Cole Caleb
Erik DeVito Horace
Pete Karas The Landlady's Son
Andrew Ready Griswold's Clerk
Tom Brandau Rufus Griswold
Holly Huff Elmira Shelton
T.B. Griffith Steamboat Captain
Douglas Spence A Porter
Shawn Jones Election Gang Member
Johanna Supensky The Landlady
Josh Metz Election Gang Member
Samuel DiBlasi Jr. Cooping Victim
Richard Arnold Cooping Victim
Michael H. Alban Barman
Sean Paul Murphy Dr. Snodgrass
Jay Carroll Surgeon's Assistant
Rick Kelton Mr. Charles
Dick Svehla Drunk
Gary Svehla Drunk
Leo Dymowski Drunk
Charlie Wittig Drunk
Barry Murphy Temperance Preacher
Mallory Herberger Nurse
William Blewwett Doctor
George Sherry Doctor

Distribution

The Death of Poe had its world premiere at the Festival of Fantastic Films in Manchester, United Kingdom on September 30, 2006. The U.S. premiere was at Baltimore's Charles Theatre on October 11, 2006.

The film was released on DVD in the United States by Alpha Video on December 5, 2006. Alpha's release also included two rare early films based on Poe's work: The Avenging Conscience (1914) (D.W. Griffiths' silent film adaptation of "The Tell-Tale Heart"), The Raven (1915), and additional bonus material.

The film was also screened at the Fargo Film Festival in Fargo, North Dakota on March 11, 2007.

Reception

British film journalist M.J. Simpson described the film as "an impressive and imaginative piece of independent film-making, available at a ridiculously low price and thoroughly worth the time, effort and cash of anyone who has ever enjoyed reading (or watching films based on) the words of Edgar Allan Poe."[1]

DVDTOWN.com managing editor James Plath wrote that Redfield's portrayal "really does bring the character to life," however the production "doesn't have the level of acting or script sophistication to make it play in Peoria . . . or anywhere else where Poe isn't revered."[2] This sentiment was echoed by DVD Pub Review, who stated that "Mark Redfield has a lot of talent, but it seems that he tries too hard to do too much."[3] Both Plath and DVD Pub Review lauded the extensive bonus material of the DVD release.

References

1.^ "The Death of Poe - MJSimpson.co.uk". http://www.mjsimpson.co.uk/reviews/deathofpoe.html. Retrieved 2007-03-30.
2.^ "DVD review of The Death of Poe". http://www.dvdtown.com/reviews/deathofpoethe/4479. Retrieved 2007-03-30.
3.^ "The DVD Pub reviews Death of Poe". http://www.joblo.com/arrow/dvd_reviews.php?id=1419. Retrieved 2007-03-30.

Deathday: LE CORBEAU Director Henri-Georges Clouzot 1977

Henri-Georges Clouzot (August 18, 1907 – January 12, 1977) was a French film director, screenwriter and producer. He is best remembered for his work in the thriller film genre, having directed The Wages of Fear and Les Diaboliques, which are critically recognized to be among the greatest films from the 1950s. Clouzot also directed documentary films, including The Mystery of Picasso, which was declared a national treasure by the government of France.

Clouzot was an early fan of the cinema and, desiring a career as a writer, moved to Paris. He was later hired by producer Adolphe Osso to work in Berlin, writing French-language versions of German films. After being fired from German studios due to his friendship with Jewish producers, Clouzot returned to France, where he spent years bedridden after contracting tuberculosis. Upon recovering, Clouzot found work in Nazi occupied France as a screenwriter for the German-owned company Continental Films. At Continental, Clouzot wrote and directed films that were very popular in France. His second film Le Corbeau drew controversy over its harsh look at provincial France and Clouzot was fired from Continental before its release. As a result of his association with Continental, Clouzot was barred by the French government from filmmaking until 1947.

After the ban was lifted, Clouzot reestablished his reputation and popularity in France during the late 1940s with successful films including Quai des Orfèvres. After the release of his comedy film Miquette et sa mère, Clouzot married Véra Gibson-Amado, who would star in his next three feature films. In the early and mid-1950s, Clouzot drew acclaim from international critics and audiences for The Wages of Fear and Diabolique. Both films would serve as source material for remakes decades later. After the release of La Vérité, Clouzot's wife Véra died of a heart attack and Clouzot's career suffered due to depression, illness and new critical views of films from the French New Wave. Clouzot's career became less active in later years, limited to a few television documentaries and two feature films in the 1960s. Clouzot wrote several unused scripts in the 1970s and died in Paris in 1977.

Deathday: Mystery Author Agatha Christie 1976

Dame Agatha Christie, DBE, (15 September 1890 – 12 January 1976), was a British crime writer of novels, short stories and plays. She also wrote romances under the name Mary Westmacott, but she is best remembered for her 80 detective novels—especially those featuring Hercule Poirot and Miss Jane Marple—and her successful West End theatre plays.

According to the Guinness Book of World Records, Christie is the best-selling writer of books of all time and, with William Shakespeare, the best-selling author of any kind. Only the Bible has sold more than her roughly four billion copies of novels. According to UNESCO, Christie is the most translated individual author, with only the collective corporate works of Walt Disney Productions surpassing her. Her books have been translated into at least 103 languages.

Christie's stage play The Mousetrap holds the record for the longest initial run: it opened at the Ambassadors Theatre in London on 25 November 1952 and as of 2010 is still running after more than 23,000 performances. In 1955, Christie was the first recipient of the Mystery Writers of America's highest honour, the Grand Master Award, and in the same year Witness for the Prosecution was given an Edgar Award by the MWA for Best Play. Most of her books and short stories have been filmed, some many times over (Murder on the Orient Express, Death on the Nile and 4.50 From Paddington for instance), and many have been adapted for television, radio, video games and comics.

In 1968, Booker Books, a subsidiary of the agri-industrial conglomerate Booker-McConnell, bought a 51 percent stake in Agatha Christie Limited, the private company that Christie had set up for tax purposes. Booker later increased its stake to 64 percent. In 1998, Booker sold its shares to Chorion, a company whose portfolio also includes the literary estates of Enid Blyton and Dennis Wheatley.

In 2004, a 5,000-word story entitled The Incident of the Dog's Ball was found in the attic of the author's daughter. This story was the original version of the novel Dumb Witness. It was published in Britain in September 2009 in John Curran's Agatha Christie's Secret Notebooks: Fifty Years Of Mysteries, alongside another newly discovered Poirot story called The Capture of Cerberus (a story with the same title, but a different plot, to that published in The Labours Of Hercules). On November 10, 2009, Reuters announced that The Incident of the Dog's Ball will be published by The Strand Magazine.

Disappearance

In late 1926, Agatha's husband, Archie, revealed that he was in love with another woman, Nancy Neele, and wanted a divorce. On December 8, 1926, the couple quarreled, and Archie Christie left their house Styles in Sunningdale, Berkshire, to spend the weekend with his mistress at Godalming, Surrey. That same evening Agatha disappeared from her home, leaving behind a letter for her secretary saying that she was going to Yorkshire. Her disappearance caused an outcry from the public, many of whom were admirers of her novels. Despite a massive manhunt, she was not found for eleven days.

On December 19, 1926, Agatha was identified as a guest at the Swan Hydropathic Hotel (now the Old Swan Hotel) in Harrogate, Yorkshire, where she was registered as 'Mrs Teresa Neele' from Cape Town. Agatha gave no account of her disappearance. Although two doctors had diagnosed her as suffering from psychogenic fugue, opinion remains divided as to the reasons for her disappearance. One suggestion is that she had suffered a nervous breakdown brought about by a natural propensity for depression, exacerbated by her mother's death earlier that year and the discovery of her husband's infidelity. Public reaction at the time was largely negative, with many believing it a publicity stunt while others speculated she was trying to make the police believe her husband had killed her.

To honour her many literary works, she was appointed Commander of the Order of the British Empire in the 1956 New Year Honours. The next year, she became the President of the Detection Club. In the 1971 New Year Honours she was promoted Dame Commander of the Order of the British Empire, three years after her husband had been knighted for his archeological work in 1968. They were one of the few married couples where both partners were honoured in their own right. From 1968, due to her husband's knighthood, Christie could also be styled as Lady Agatha Mallowan, or simply Lady Mallowan.

From 1971 to 1974, Christie's health began to fail, although she continued to write. Recently, using experimental, computerised, textual tools of analysis, Canadian researchers have suggested that Christie may have begun to suffer from Alzheimer's disease or other dementia. In 1975, sensing her increasing weakness, Christie signed over the rights of her most successful play, The Mousetrap, to her grandson.

Agatha Christie died on January 12, 1976 at age 85 from natural causes at her Winterbrook House in the north of Cholsey parish, adjoining Wallingford in Oxfordshire (formerly part of Berkshire). She is buried in the nearby churchyard of St Mary's, Cholsey.

Christie's only child, Rosalind Margaret Hicks, died, also aged 85, on October 28, 2004 from natural causes in Torbay, Devon. Christie's grandson, Mathew Prichard, was heir to the copyright to some of his grandmother's literary work (including The Mousetrap) and is still associated with Agatha Christie Limited.