And it was true that — especially in regards to Usher — like in the James tale (and the film version, 1961’s The Innocents), it wasn’t the twists of plot that left viewers spellbound, it was the remarkable way in which Corman and production designer Daniel Haller created an immersive, haunted world, where every creak and whisper hit the nerves like a dagger.
At its core, Eric D. Howell's film, based on a novel by Silvio Raffo, is a 19th-century-style psychological ghost story, a genre epitomized by Henry James' 1898 classic The Turn of the Screw, memorably filmed as The Innocents (1961).