When Edgar sees his girlfriend Betty getting up close and personal with his best friend Carl, he murders Carl in a jealous rage and hides the corpse under the floor of his piano room. Comes... See full summary »
A haunting account of a tormented man who continually re-admits himself into a medical facility, in a futile attempt to escape from his pending madness. Based on Edgar Allan Poe's poem "The Tell-Tale Heart".
John La Tier
Patrick John Flueger,
In the 1600s, cowardly Sir Simon of Canterville flees a duel and seeks solace in the family castle. His ashamed father seals him in the room where he is hiding and dooms him to life as a ... See full summary »
Norman Z. McLeod
From master storyteller Edgar Allan Poe, this stunning adaptation brings to life what is perhaps Poe?s best known short story. Murder, madness and betrayal from within interweave in this ... See full summary »
Adapted from the story by Edgar Allan Poe: A young man is being dominated, insulted, and mistreated by the older man whose lodgings he shares. Finally, one night he enters the older man's room and kills him. Afterwards, the young man grows increasingly nervous, and he becomes convinced that he can still hear the dead man's heart beating. Written by
A much abused young man, driven to desperation & murder, hears his conscience rebel in the beating of THE TELL-TALE HEART.
Edgar Allen Poe's story is turned into a short subject gem, with the magnificent performance of Joseph Schildkraut & the inspired direction of Jules Dassin. This is a prime example of what can be done in a very limited time frame - here, 20 minutes - when inspiration & bravado are used to interpret a great story. The original has been altered & expanded somewhat to explain more fully the reasons for the murder and to create sympathy for the killer. Schildkraut's depiction of growing guilt & Dassin's creation of an oppressive atmosphere do the story more than justice.
Dassin would go on to become a celebrated features director. Schildkraut, already an Oscar winner, would enliven cinema & television roles with his talent for many years.
Often overlooked or neglected today, the one and two-reel short subjects were useful to the Studios as important training grounds for new or burgeoning talents, both in front & behind the camera. The dynamics for creating a successful short subject was completely different from that of a feature length film, something akin to writing a topnotch short story rather than a novel. Economical to produce in terms of both budget & schedule and capable of portraying a wide range of material, short subjects were the perfect complement to the Studios' feature films.
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