To be honest, I’m not so much surprised that Ambrose Bierce’s work has inspired so many filmmakers, as I am surprised that it hasn’t inspired more. I guess the fact that he eschewed long form storytelling (as a matter of principle, to hear him tell it) is a factor, but so for the most part did Poe and Lovecraft, who are much more frequently filmed. I can’t account for that.
An Occurrence at Owl Creek Bridge was most famously adapted by Robert Enrico, and the resulting short became, somehow or other, an episode of The Twilight Zone, exposing it to a much wider audience that Enrico’s other two Bierce films, CHICKAMAUGA and THE MOCKINGBIRD. But for my money, Charles Vidor’s version, entitled THE BRIDGE, is much much better.
It’s available on the extraordinary box set UNSEEN CINEMA, which you should all immediately buy.
The bit that really grabs me, in a film full of fascinating visual ideas, is the superimposition of the drumsticks beating the skin over the hero’s chest. Two images united to create more than one idea and emotion — by showing the drum and the man at the same time, anticipation is heightened, but the beating of the drum comes to stand for the racing of the man’s heartbeat, evoking something a silent film can’t make you hear, or feel. That’s CLEVER.
Some imaginative trope of that kind was surely required when Tony Scott filmed ONE OF THE MISSING, another of Bierce’s Civil War horror stories, but although he pulls off some good angles and generates a fair bit of suspense (you can see this short on the CINEMA 16 collection) he never gets near evoking the striking passage in Bierce’s tale where the soldier, trapped by rubble with his fallen rifle pointing straight at his head, primed and ready to fire, imagines the sensation of the bullet passing slowly through his brain…
Vidor really displays moments of similar zest in GILDA (the giant dice in the opening shot) and I guess in COVER GIRL, also LADIES IN RETIREMENT and BLIND ALLEY. When the project roused his enthusiasm, he was quite an expressionist.
Further reading: The Complete Short Stories of Ambrose Bierce
Of course, Bierce’s The Devil’s Dictionaryis wickedly funny, but less known than either his supernatural tales and his war stories are his grotesque, jet-black tall tales, which are quite incredibly sick and extremely amusing.
Further viewing: Unseen Cinema – Early American Avant Garde Film 1894-1941 An amazing treasure trove of obscure fragments of wonderment.