Murders in the Rue Morgue 4K Blu-ray Movie

Rating summary

Movie		3.5
Video		4.0
Audio		4.0
Extras		3.5
Overall		4.0

Murders in the Rue Morgue 4K Blu-ray Movie Review

Reviewed by Justin Dekker July 28, 2026

American International Picture's 1971 film 'Murders in the Rue Morgue' arrives on 4K UHD disc courtesy of Hammer Films. Directed by Gordon Hessler ('The Golden Voyage of Sinbad', 'Cry of the Banshee'), the film stars Jason Robards ('All the President's Men', 'Once Upon a Time in the West'), Herbert Lom ('Mark of the Devil', '99 Women'), Christine Kaufmann ('Town Without Pity'), Michael Dunn ('Ship of Fools'), and Adolfo Celi ('Thuderball'). The release includes both Hessler's original version of the film along with the AIP-edited theatrical cut. Restored by Hammer from the original film negatives, the release also includes a solid mix of on-disc supplemental material. A slipcover is included, but a Blu-ray and a Digital Code are not.

When a murder takes place at the Rue Morgue Theatre, Madeline (Christine Kaufmann), haunted by various visions including that of a mysterious man wielding an axe, is convinced more deaths will follow. Her husband and fellow actor (Jason Robards), becomes increasingly embroiled in the murders committed by a shadowy masked man (Herbert Lom), as deep-seated rivalries, lost loves, and unbridled jealousies create a growing body count and increasing danger. Can Madeline unravel her visions before it's too late?

The films of AIP's Poe cycle have long been favorites mine. While some of the films, which include such recognizable tales such as The Fall of the House of Usher, The Pit and the Pendulum, and The Masque of the Red Death, seem to cut closer to the source material, others seem content to trade only the film's title and Edgar Allen Poe's name to draw in audiences. While this film does maintain some elements of the short story first published in 1841, a great many liberties have been taken in the production of this 1971 film. Poe's original story is widely credited as being the first to include a private detective, a character he named Auguste Dupin. This detective wasn't afraid to put his analytical skills on display to amaze and delight the reader, in much the same fashion as Sir Arthur Conan Doyle's Sherlock Holmes (who first appeared in 1887) and Agatha Christie's Hercule Poirot (who first appeared in 1920), whereby simple observations lead to clever deductions and astonishing pronouncements pertaining to a character's whereabouts, profession, or any of a number of other vital clues. But this legendary and groundbreaking detective sadly doesn't factor into AIP's The Murders in the Rue Morgue, and despite some initial disappointment it's clear to see why. Poe's original work was essentially a mystery with some horrific elements. Interestingly, the film which bears its name has no such mystery at its core and there would be precious little for such a gifted intellect to accomplish. No, the film is much more a dreamy horror story with with some mysterious visions to interpret. And while murder is on the menu, the killer's identity is made abundantly clear before the opening credits hit the screen.

To its credit, Hammer's new release features both cuts of the film, the Director's Cut (1:38.23) which first gained a home video release in the early 2000s, and the AIP-crafted Theatrical Cut (1:27.11) which runs about eleven minutes shorter. The AIP version does its level best to craft a more linear and straightforward film by, among other things, removing what they considered to be nonessential story or character beats, color tinting dream/flashforward/flashback sequences to telegraph their perceived nature to the viewer, and leaving the viewer with a different (read: "much less satisfying") ending. While the ultimate selection of which version to enjoy may, to a certain extent, come down to the version of the film with which the viewer is most familiar, I feel that Hessler's original vision is the more satisfying experience. In this iteration, the film feels not only more complete, but also more complex and interesting, with a certain dreamlike quality that I often find appealing. Madeline's visions become much more of a source of interest and wonder. Is what she's seeing visiting her while she is awake or dreaming? Are they mere products of her subconscious pertaining to her fears and anxieties, are they fragments of things that have happened, or are they premonitions of what is to come? When coupled with the plays within the play, the added surreal nature of the carnival that is adjacent to the theatre, the use of disguises and disfigurement, and the seemingly malleable and impermanent nature of death, this mix of ideas and themes conspire to, at times, leave the viewer wondering exactly what is real and what is fantasy. Even the time-honored tradition of the "final reveal" takes place on stage with the aid of hypnosis, and the return of those thought to be dead. Is the version of events they recount the truth or is it yet another fiction? And is it an accident that the final judgement of Robard's Cesar Charron mirrors s exactly events which have already occurred on-stage earlier in the film? Hessler's version is a film of stories within stories, and layers atop layers, where virtually none of the primary characters are what they seem.

Much of the cast is excellent. Christine Kaufmann imbues her Madeline with a haunted quality that is a product of her dreams and visions. While tormented, she remains focused on her responsibilities, and finds what little joy is available to her when and where she can. In her visions which are aided by slow-motion and her flowing white nightdress, she seems a mere apparition in the events which play out in her mind. Herbert Lom, who had starred in Hammer's The Phantom of the Opera some nine years prior, dons a costume, complete with a mask, that eerily harkens back to what he wore in that film, and he brings a similar performance to the screen here as Rene Marlot, as he sets out for revenge and repeatedly evades capture. Michael Dunn is relentlessly entertaining here as Pierre Triboulet, an orchid dispensing henchman with his own amorous designs for the lovely Madeline, and the person behind the various "Punch & Judy" performances at the carnival. While one might initially be inclined to dismiss him, his performance makes Pierre the most unsettling and disturbing antagonist in the film. If there is a weaker link in the cast, it would would be Jason Robards inhabiting Cesar Charron, a role most who are familiar with AIP's Poe output could envision Vincent Price playing to perfection. Were it not for ongoing contract negotiations, it's a role he likely would have taken up. With Robards, however, we are given a far more subdued performance, one that is at times too reserved and emotionally distant given the films events. While he does occasionally let his performance expand to fill the screen, one cannot help but wonder at what manic, sinister, cunning, and salacious energy Price might have brought to the role had he been available.

Murders in the Rue Morgue 4K Blu-ray Movie, Video Quality 

I was quite happy with this film's 1080p presentation and was a bit unsure what room for improvement could be found in the 2160p presentation with Dolby Vision. One of the most immediate improvements i noticed was the healthier and more realistic skin tones. Film grain is also better managed here; it's present and provides an excellent filmic look, but is rarely problematic. The only time that grain really becomes an issue is in a several isolated and predictable moments such as during a process shot that serves as Genevre's first appearance, and in one of Madeline's gauzy, soft-focused dream/vision sequences. On the whole, though, the transfer trades in high levels of detail with viewers able to appreciate variations and gradations in stone-work, age and wear on the stone building exteriors, woodgrains on both the stage floor and on trim elements in Madeline's home, and also on the high-gloss coffin in which Orsini performs his buried alive act. Fabrics present with impressive tactile realism, from thick velvets, to shiny satins, to the various delicate lace elements found in Genevre's boudoir. Facial particulars are frequently open for investigation, with viewers able to examine the various make-up effects seen on Lom's disfigured face, and on the bodies of the acid attack victims. Every eyebrow is discernable on Christine Kaufmann's face, and every bead of sweat is visible on her furrowed brow whenever she awakens from one of her terrifying dreams. Colors are richly saturated and are best observable in the brothel and in and around the carnival, where deep greens, yellows, and impressive reds dazzle. So, too, do the red flowers in Madeline's dressing room which pop nicely. Whites stop short of brilliance, and blacks are impressively deep. The image's depth and dimensionality is pleasing and invite the viewer into the world of the film. It's a wonderful transfer, and the region-free 4K UHD disc makes for the easiest way for fans to see the the film regardless of geographic location.

Screenshots are sourced from the 4K UHD disc and downscaled to 1080 and are in SDR.

Murders in the Rue Morgue 4K Blu-ray Movie, Audio Quality 

Murders in Rue Morgue comes outfitted with two audio options, a vintage LPCM 2.0 stereo track and a more modern DTS-HD Master Audio 5.1 track. Both have elements to recommend them. The 5.1 mix is relatively understated by modern standards and still results in a primarily front- heavy track. Dialogue is kept front and center for the most part, and is free from defect or distortion save for the infrequent minor sibilance issue. Music is rendered well with woodwinds sounding delicate and ethereal, with chimes and an organ adding some imposing but well-balanced menace. Sound effects such as the slow clopping of horse hooves and carriage wheels are believable and sound era appropriate. Surround involvement is infrequent and subtle, and is best enjoyed in moodier moments where the music is allowed to swell and emotionally manipulate the audience, though some select sound effects, such as an ominous knock at the door, take advantage of the expanded sound stage.

The 2.0 track provide a more authentically vintage viewing experience. Dialogue in this track seems to be slightly more pushed to the forefront here, with music and sound effects typically kept under it. Sound effects like horse hooves and slamming doors sound a bit thinner here, though they are hardly overpowering in the 5.1 mix. The music is still well-rendered in the 2.0 track, though it does lose some of it's impact when it can't encompass the viewer. Dialogue is clean and clear, and the minor sibilance issue is less noticeable in this mix.

While my proclivity is typically for original audio tracks when they are available, I surprisingly found the 5.1 track to be a more enjoyable listen. Never ostentatious or incongruously overpowering, I found it's penchant for subtle enhancement and immersion made for a more enjoyable viewing experience, bringing the film modestly more in line with modern cinema without feeling out of place. Further, it offered better sound separation for the film's score and it is able to transcend the limitations of the 2.0 track in other areas as well. But, to be clear, both are viable options and will boil down personal preference.

Murders in the Rue Morgue 4K Blu-ray Movie, Special Features and Extras 

Hammer's release of AIP's Murders in the Rue Morgue is accompanied by a solid assortment of on-disc supplemental material.

• 2026 Commentary Featuring Chris Alexander - Delirium Home Video's Chris Alexander turns in another free-wheeling and conversational but focused commentary for a film of which he's admittedly a fan. One of the first subjects he covers are the differences between Hessler's finished film and the iteration created by AIP which it ultimately released to theaters. One of the changes that receives a good deal of air time is AIP's decision to color tint the dream/flashforward/flashback sequences which puts them somewhat in keeping with similar scenes in other films in the Poe cycle, but feels clumsily done here. Alexander is certainly appreciative of the original cut and shares his thoughts and opinions on the cast and their bodies of work, the original text, various impactful shots and moments, and more. Fans of Alexander's commentaries will want to give this track a listen.

• Theatrical Trailer (2.50)

• Stage Tricks and Screen Frights (11.39) - From 2003, Director Gordon Hessler shares his thoughts and recollections on casting (positive and negative), the script, the cuts made by AIP for its theatrical release, and other subjects.

• A Crazed Resurrection (21.29) - The always interesting and entertaining Kim Newman discusses the AIP Poe cycle, this film and its source material, and various casting decisions.

• Image Gallery (11.11) - Images of movie posters, lobby cards, stills, and publicity materials auto-advance in silence.

Murders in the Rue Morgue 4K Blu-ray Movie, Overall Score and Recommendation 

Genre fans are sure to note Adolfo Celi's name in the introduction and his distinctive visage in a few of the screenshots, no doubt remembering him from such films as A Man for Emmanuelle< Eye in the Labyrinth, Naked Girl Murdered in the Park, and Live Like a Cop, Die Like a Man among others. While he's typically given a more memorable and meaningful role, that is unfortunately not the case here. While the character he plays substitutes in for Poe's fictional sleuth C. Auguste Dupin, he does precious little detective work, and mostly merely provides someone for Robards' Cesar Charron to converse with in order to share with the viewer what the police know. He spends the film several steps behind the action he should be getting in front of - hardly the embodiment of Poe's Dupin who possessed such a gifted mind. Slow-moving, dreamlike, and riddled with duplicities of all kinds, Hessler's Murders in the Rue Morgue may at times feel more like a riff on The Phantom of the Opera (which isn't a bad thing), but it boasts production values similar to the other films in AIP's Poe cycle, including a cast stacked with well-known and bankable actors, even if Price is sorely missed. Surprisingly chaste, but nonetheless moody and atmospheric, and bloody enough to convey real menace, Murders in the Rue Morgue 4K comes strongly recommended.