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The first feature film adaptation is O Homem das Multidões and three more short films exist. The third is also a straight adaptation published by Dark Horse Comics. The second was published in Creepy #70 and constitutes a rewrite to explicitly portray the wanderer as a psychic vampire. The first is a straight adaptation published in Psycho #23. "The Man of the Crowd" has been adapted to comic form thrice. In any case, the fact that the narrator is staying at a hotel suggests he's not a Londoner. Or, given that the narrator by his own admission is not in a right state of mind, it might be that the wanderer's refusal to go home and his need to be in a crowd is just his way of keeping himself safe from that creep that's stalking him.īecause "The Man of the Crowd" directly precedes "The Murders in the Rue Morgue" in the detective genre, its narrator may also retroactively be interpreted as being Dupin or his unnamed companion. Because the wanderer's alluded-to crime and the narrator's sickness could have happened concurrently, the narrator may be the wanderer's guilt haunting him. It's also been proposed that the wanderer is a Doppelgänger to the narrator or that the narrator himself is the doppelganger. Rationally, the wanderer could be just an earthly crook in the midst of criminal dealings. He might be the embodiment of the city both in his apparent sole existence as crowd filler and as the quintessential holder of secrets. Or he is a psychic vampire that feeds on the energy of multiple people at once.
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It might be that the wanderer is an eternal wanderer, cursed by an alluded-to crime. There are many ways to interpret the wanderer as well as the narrator and the story's genre duality does nothing to make one more likely than the other. The narrator gives up at this point, concluding that he'll learn nothing more and that the evil the wanderer hides is best left undisclosed. Once the workers have petered out of the streets, he heads for the late-night bazaar, then for the masses leaving the theaters, then for the outskirts where the ginshops are open until dawn, then back to downtown where the workers once more head out. But for all the hours until the next evening that the narrator follows along, the wanderer doesn't go anywhere except where there are crowds. Intrigued, the narrator stalks the wanderer to see where he's headed. The more into the night, the rougher the elements that make up the crowd until the narrator spots one wanderer whom he can't categorize except for the notion that he'd make an excellent visage for the devil. As the evening proceeds, he observes the people walking by and makes a game out of identifying their positions in life. Seated at the window of the D Coffee-House, part of the DHotel in London, the narrator is subject to an unusual sense of personal energy stemming from his recent recovery from a months-long illness. Hereafter, the narrator spots a striking wanderer and obsessively follows him for nearly 24 hours as the man, without loss of energy, only ever seeks out new crowds to join. For the first twelve paragraphs, the narrator sits alone deducing the identities and natures of the people passing by on the street. "The Man of the Crowd" is thus a transitional hybrid of the two genres and the story actually has two distinct halves. It also has elements of Detective Fiction and may be considered a precursor to " The Murders in the Rue Morgue", which was first published in April 1841. "The Man of the Crowd" was first published in book form when Poe included it in his Tales collection in 1845.ĭuring the late 1830s, Poe had a high output of supernatural horror stories and "The Man of the Crowd" is regarded as among that line-up. It premiered simultaneously in the December 1840 issues of Atkinson's Casket and Burton's Gentleman's Magazine in anticipation of their merging into Graham's Magazine later that month. "The Man of the Crowd" is a Short Story by Edgar Allan Poe penned in November 1840.