THE FALL OF THE HOUSE OF USHER: Flanagan Does It Again

Based on an adaptation of Edgar Allan Poe‘s short stories, The Fall of the House of Usher, this miniseries rendition retains Poe‘s ominous nature while introducing new and relevant themes that seamlessly intertwine with Mike Flanagan‘s distinctive style.

The story revolves around ambitious twins, Roderick (portrayed by Bruce Greenwood and when younger Zach Gilford) and Madeline (played by Mary McDonnell and Willa Fitzgerald) Usher. They have built a pharmaceutical empire around an opioid called Ligodone, which has come at the expense of others. Despite claiming that it is non-addictive and harmless (sound familiar?) numerous legal cases and claims, often handled by their lawyer Arthur Pym (played by Mark Hamill), prove otherwise.

The Price of Success

The narrative unfolds through sections primarily from Roderick’s perspective, as he recounts the events to government representative C. August Dupin (portrayed by Carl Lumbly), who has been unable to bring the Ushers down. The Usher family also includes the oldest son Frederick (Henry Thomas), sister Tamerlane (Samantha Sloyan), and other relatives like Camille (Kate Siegel), Victorine (T’Nia Miller), Leo (Rahul Kohli), and Prospero (Sauriyan Sapkota).

The focus is on the inevitable downfall of this colossal family, an industry titan, and a cast of characters who are all inherently tormented by something despite their outward opulence and ostentatious appearances. Moreover, an underlying malignancy looms, counting down to an inescapable climax.

Beneath the greed and family secrets lies a deep darkness that is ready to emerge. These eight episodes offer a wealth of material to unpack. Some of the dialogue is directly from Poe, adding a gothic touch. The series also incorporates social commentary, and like Flanagan‘s other works on Netflix, there is a sense of the characters being metaphorically and physically haunted.

The enigmatic Verna (Carla Gugino) appears frequently, her presence shrouded in mystery. She works to stir the pot and pit siblings against one another. However, to grasp the consequences, one must delve into the past. This blend of supernatural and psychological horror effectively builds over the course of the miniseries. It provides a profound exploration of the human psyche, examining the choices we make and the reasons behind them, particularly when pushed to the edge and presented with otherworldly opportunities.

The series weaves a densely rich tapestry of storylines, all converging on one pivotal decision. It is a gothic-infused horror that peels away the layers of familial eccentricity and dysfunction with brilliant flair. 

A Quick Way Up, A Quick Way Down

Each “Fall” is an intricate and deadly dance designed to bring down the family member in a vicious fashion. 

It’s beautifully written and performed with the usual excellence you can expect from such a cast. Comparing it to Mike Flanagan‘s previous miniseries is a challenge since they each have their own unique shades, emphasizing different themes and capitalizing on different strengths. While The Fall of the House of Usher is a wickedly enjoyable work, it may not be Flanagan‘s strongest. 

Some episodes, especially early on, feel excessive and lack clarity to feel completely cohesive. However, as the story unfolds, the show gains momentum and keeps the audience lured with careful mystery. By the third episode, I felt completely ensnared. These Usher hooks run deep.

Sometimes there are inherently unsettling scenes, especially when considering the creativity of the death sequences, and it’s very much a horror: consuming and relentless. However, there is often a missed opportunity to infuse these moments with the delicacy that could have heightened their impact. It lacks that warmth, but the chillyness is par for the course. 

Anything But Simple

The standout performances come from Carla Gugino and Mary McDonnell, who deliver powerful and captivating portrayals filled with malice and allure. Their confidence permeates off the screen. Constructed as a conversation between rivals the entry and exit scenes are also equally strong and riveting with Bruce Greenwood and Carl Lumbly‘s bookend performances excellently done.

All of the characters are compelling, and Poe‘s sensibilities and storytelling core shine through. The Usher family is less sympathetic than Flanagan‘s previous works, which adds to the intriguing consequences. They may act invincible, but their unraveling proves otherwise. What the series lacks compared to others is the emotional tether that Flanagan tugs at so well. In exchange, there is a ritual of fated justice, teaching a lesson that has been seen in storytelling for a long time.

Overall, this is a wish-fulfillment story, reminiscent of the ‘eat the rich’ scenarios we’ve seen in recent popular cinema. However, it wields a spell that is both old and new, making it a fascinating watch. An eerie color palette and unusually delightful cinematography make for some images that’ll stick with you.

Conclusion: The Fall of the House of Usher

Chillingly constructed, each element is meticulously placed with deliberate intent. At first, there is a flickering ember, but it gradually engulfs everything. 

The Fall of the House of Usher further solidifies Flanagan‘s mastery of his craft and serves as a testament to the talent he surrounds himself with. A superb horror treat. In the end, they are their own undoing. 

The Fall of the House of Usher will be streaming on Netflix on October 12th.