One of the most discussed and imaginative cartoons of any era. It tells the famous Edgar Allan Poe story of the deranged boarder who had to kill his landlord, not for greed, but because he possessed an "evil eye." The killer is never seen but his presence is felt by the use light-and-shadow to give the impression of impending disaster. According to UPA, the art style was derived from Eugene Berman, scenic designer and ballet designer of NYC's Metropolitan Opera. Written by
Les Adams <firstname.lastname@example.org>
Did You Know?
Rumors for years surrounding this film would have it being in 3-D. However, absolutely no trade magazines list the production as being in 3-D (even pre-filming announcements and in-production articles), and according to Grover Crisp, head of the restoration unit at Sony/Columbia, the original negative bears absolutely no markings that would indicate that the film had any 3-D origins. It is speculated, based on several collectors' memories, that the myth started when super8mm editions of the film were labeled with 3-D stickers by accident, around the same time that stickers were being put on the 3-D shorts that Columbia was releasing in that format. See more
True, I'm nervous. Very, very dreadfully nervous. But why would you say that I'm mad? See how calmly, how precisely I can tell the story to you. Listen. It starts with the old man. And old man in an old house. A good man, I suppose. He didn't harm me, I didn't want his gold, if gold there was. Then what was it? I think... I think it was... his eye. Yes, that eye, the eye. That. His eye staring. Milky white film. The eye, everywhere, in everything! Of course I had to get rid of the eye.
Version of Obras maestras del terror