Dwayne Hill narrates the inner thoughts and feelings of the confused and fearful prisoner, condemned to the dark dungeons without maudlin overtones. His voice is that of a rational man in irrational circumstances; a man trying to reason through his predicament in hopes of finding an escape from his tormentors, and their fiendish instruments of torture and death.

One ray of hope and beauty written into the film, and not in Poe's gloomy tale, is the entrance of a brightly-colored bird fluttering around the solitary window of the cell, high up out of reach. The cheerful scene contrasts with the somber browns and blacks of the walls and floor. It is a nice foreshadowing of hope as the prisoner looks up toward the feeble light, entering through the bars, illuminating the red feathers of the bird flying about carefree. It fortifies the visual storytelling in a simple but majestic manner.

Though not based on historical accuracy, the fictional pit and pendulum of the story heighten the fearsome depravity and inhumanity of the prisoner's death sentence. In true horror story fashion, death is not the worst part, but getting there is.

While reason keeps the prisoner from succumbing to the razor-sharp blade of the pendulum, it can't stop the heated iron walls of his cell from forcing him ever closer to that infernal pit in the middle of the room. What horrors await should he fall down into the deep darkness?It's hard to capture Poe's narrative detail, the rush of terror-filled thoughts overwhelming the long-suffering prisoner in his final moments before succumbing to the foul-smelling pit, especially in a six-to-seven minute film. But the climax here, with its carefully framed arm darting down to rescue him as he descends into oblivion, pulling him back to sanity and safety, is thrillingly done.

The Pit and the Pendulum's stop motion artistry proves that old techniques, when combined with creativity and a touch of new technology, still have much to offer.