Murders in the Rue Morgue 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 Blu-ray Movie Review

Reviewed by Justin Dekker July 28, 2026

American International Picture's 1971 film 'Murders in the Rue Morgue' arrives on Blu-ray 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 Digital Code is not. The Blu-ray disc is Region B "locked". Therefore, viewers who reside outside of that area will need a region-free Blu-ray player to enjoy the content.

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?

he 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 Blu-ray Movie, Video Quality 

Murders in Rue Morgue has a very healthy-looking 1080p presentation. The first thing viewers will likely notice is a pleasant layer of fine film grain that is present throughout. It provides the feature with an age-appropriate aesthetic that is quite different from what is experienced with modern films. Fine detail is relatively high, with viewers able to clearly discern wood grain on the stage of the theatre, and the sometimes hideous make-up effects depicting the ravages of vitriol being thrown on the faces of various actors being open for exploration an appreciation. So, too, can viewers enjoy an excellent look at the somewhat crude costume of Erik and the actor within it during the violent stage show. Age is appreciable in the colorful support structure of the Ferris wheel at the carnival, with chipped pain, rust, dirt, and the like on full display. Softness does interject itself at various occasions, some of which are purposeful and others of which are consequences of other circumstances. First, some of the purposeful softness is found in Madeline's frequent visions, with a gauzy haziness present in some shots as she is confronted with images from her past or her potential future. Based on the vintage of the film and the material, it's safe to say that these look exactly as Hessler intended. The second has to do with a few process shots where the inevitable accompanying softness is a byproduct of the technology involved. The instance is found in only in the director's cut where certain brief elements leveraged are simply not up to the level of quality found in the vast majority of the film. A necessary evil, to be sure, and while noticeable they do little to diminish the overall enjoyment of the film. Further, they account for an incredibly small portion of the film's runtime. Skin tones are generally healthy but Robards' in particular can occasionally veer toward a slightly reddish hue. Colors are generally well saturated and stable and are best appreciated in the brothel scene from the around the 18-minute mark. Here the colorful gowns worn by the women present with vibrant blues, greens, and especially eye-popping reds. It's a lovely vintage transfer.

Murders in the Rue Morgue 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 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 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 comes strongly recommended.