The House of Usher

The dullest possible Yanks on a London jog-and-snog, she an L.A. hairdresser, he Ryan Usher.

The composition of the story now turns to horror and shock, Roderick buries the boy alive, has the girl in the shower, sensitive as he is, and watches the house settle. Margaret Thatcher gets an apple in her mouth owing to the housekeeper’s resemblance and Roderick’s brother Walter, Ryan’s father. A great slurry of escapades, an English house of horrors.

Alternatively, as proposed at the end, a figment comparable to Sirk’s Lured.


the Masque of the Red Death

A bravura representation on the lines of show business and art, “love and deception”, with a peculiarly subtle admiration of the cumulative prismatic effect sought by Poe.

Neuschwanstein, Ludwig the discoverer of talent, his last party.

Minnelli’s The Bad and the Beautiful has a tinge in all this, which certainly echoes Meyer’s Beyond the Valley of the Dolls.

“I would simply love to do a remake of All About Eve,” says the French actress who later proves why studios have gates.

The opening feint, from the screenwriter of Birkinshaw’s The House of Usher, is on another figure of fun, the lady photographer in jeans and boots for Snoop.