Two weeks back, Lost in Translation reviewed The Raven, a film “suggested by” the poem of the same name by Edgar Allen Poe starring Bela Lugosi and Boris Karloff. While the movie is a showcase of horror, especially with Lugosi’s portrayal of a man who took a flying leap off the precipice of sanity, it really didn’t have much to do with “The Raven” other than set dressing and an odd interpretive dance number. The film itself is well worth watching, so changing it might break some delicate balances.

Instead, the proposal is to change the “suggested by” from just “The Raven” to “inspired by the works of Edgar Allen Poe.” The movie pulls in from many of Poe’s work, “The Pit and the Pendulum” being the most obvious, and a twist on “A Cask of Amontillado” with the sliding walls. The idea is less focused on any one of Poe’s works. A quick look at Wikipedia and the list of Poe’s works and collections show that he published mainly in newspapers and magazines. The best title may for the film may come from Tales of the Grotesque and Arabesque, but that may not have the draw that “The Raven” does. The goal is managing audience expectations; the film uses Poe’s works for inspiration and mood, so that needs to remain.

Remaking The Raven will require a deft touch and the right cast. Modern technology can make or break the remake. Today’s makeup skills have improved since 1935, thanks to new materials and techniques. While impressive for the time, Karloff’s fake eye after Bateman is subjected to Dr. Vollin’s tender care looks, well, fake in close ups. Today, makeup and prosthetics can have the eye look and behave as a real eye.

However, the temptation to go overboard has to be fought. The Raven works as horror because of what lies beneath the surface. Vollin appears as a respectable surgeon up until the point where the facade shatters. Until that happens, the horror has to be kept simmering beneath, not out in the open. The tone of Poe’s works can act as a guideline here. The Raven doesn’t have to be effects heavy. Good use of lighting and background music can help scenes feel off kilter.

What may also help is lengthening the film. The Raven ran just over an hour, a length not seen in today’s films. Today, films are at least ninety minutes long, and some can run up to three hours, though those are rare. An extra thirty minutes can help build up the obsession Vollin has for Jean and set up the deathtraps at the end. Lingering shots over Vollin’s bookshelves showing key works, including Poe’s, to hint at what’s to come at the end.

The climax is where the danger lies in a remake. The temptation to go all action works against the story. Sure, there are deathtraps, but they work on the idea of an awaited death that steadily creeps closer and closer. Rushing the ending removes the tension. In the 1935 film, what stops Vollin is his own madness; he is the cause of his own downfall through his torment of Bateman, Having Jean be the instrument takes away much of Bateman’s torture and Vollin’s narcissism. Jean, too, is a victim, but not one that Vollin wants to torture right away like he does with her father and with Bateman.

Last piece to work out is the title. Again, The Raven was merely suggested by “The Raven”, and while it does include the poem in a couple of scenes, it’s more the raven as a symbol of death that gets used by Vollin. However, to get the audience in the proper frame of mind to enjoy the remake, the title needs to invoke Poe. As discussed above, Poe published his works singly, but Grotesque and Arabesque may just work, especially if Jean remains a dancer in the remake.

Improving a work like The Raven is difficult. The film is a study of one man’s madness and how he takes it out on others, with Bela Lugosi delivering a brilliant role as Vollin. Remaking the film would take a delicate touch, even with the modern techniques available now, and one wrong note could sour the entire movie.