The Devils (1971)

If you've seen The Devils a long time ago and wondered why I would include it alongside the many other horror movies I have chosen to watch at this time of year then I would suggest to you that it's time you revisited The Devils. This is a horror film, and it's as powerful and wild to watch today as I'm sure it was when first released in 1971. In fact, having heard all about it for many years, both the content and the power of it, I was worried about it feeling a bit dated and diluted nowadays. Trust me, this is one that remains a test for hardy viewers.

What you need to know is that Oliver Reed portrays Urbain Grandier, a holy man who has his own particular way of living a holy life. He doesn't deny himself some pleasures of the flesh, but he does try to ensure that those around him are safe and spiritually-nourished. Vanessa Redgrave is Sister Jeanne, a woman who becomes obsessed with Grandier, believing that he can be her saviour. It's not long until frustration and resentment lead to some accusations that allow some powerful figures to cut Grandier down to size.

While Ken Russell isn't a director I will always respond positively to, it's undeniable that he has directed a number of features throughout his career that different people could refer to as masterpieces. This one would be my choice, and I know I am far from alone with that opinion. Based on a play by John Whiting, itself based on a novel, "The Devils Of Loudun", by Aldous Huxley, Russell fearlessly looks at religious hypocrisy and the kind of ridiculous show trials that could be used to get rid of anyone deemed to be a threat. It could all be laughable, and there are some fleeting moments of amusement here, if it wasn't all so cold-hearted and deadly.

Reed is as brilliant as he needs to be in his role, embodying his character with the gravitas and brooding presence of, well, peak Oliver Reed. Redgrave also does very good work, as do Gemma Jones, Georgina Hale, and the many others portraying women who feel themselves getting a bit flustered and faint in Reed's presence. Dudley Sutton and Brian Murphy are familiar faces in supporting roles, but the other key player to mention is Michael Gothard, playing one of the most cretinous and punchable villains I have seen in any film of any genre.

It's a shame that we STILL cannot see the full and uncut version of this (the controversial content has ensured that Warner Bros. keep doing their best to control what version is available), but it's a testament to the film, and to Russell, that what we have is already such an incredibly powerful work, full of astonishing imagery and moments that convey absolutely horrendous pain and trauma. Part of me never wants to watch this again, but another part of me thinks that I could watch it every day for the rest of my life and never get sick of appreciating the blend of the beautiful and the grotesque.

I implore others to avoid making the same mistake that I did. Watch this as soon as you possibly can, and see it in the best possible quality. It's a masterpiece. And to the devil with those who say otherwise. 

10/10

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The Playbirds (1978)

Here it is, at long last. My second Mary Millington film experience, and a vehicle that fans of the star often cite as her best work. Which makes it very odd to watch nowadays, especially when you have a scene in which a woman wakes up to find a stranger in her home and cheerily utters "oh goody, I'm going to be raped." Yeah, that really happens.

The plot, and at least this does feel like a proper plot, concerns the murder of a number of porn magazine centrefolds. It's up to Holbourne (Glynn Edwards) and Morgan (Gavin Campbell) to capture the killer before any more women die, but they really struggle to find any decent leads. Perhaps it is the porn magazine mogul, Dougan (Alan Lake), perhaps it is the moralising street preacher, Hern (Dudley Sutton), or perhaps it is any one of the many men who make themselves seem much more suspicious in the presence of the police. The only way to really get a step ahead of the killer is to place an attractive officer (Lucy, played by Millington) undercover. She certainly looks right for the part, which means she is in a lot of danger as soon as her centrefold is about to be published.

The first of three Millington movies directed by Willy Roe, who also co-wrote the script with George Evans (although they are credited under pseudonyms), The Playbirds manages to cut costs and make use of easily-available assets without slapping everything together as carelessly as something like Come Play With Me. The script may not be that sharp, few people watch adult entertainment for the dialogue and characterisations, but what is here actually works well for the plot to hit some decent story beats on the way to scenes of nudity and sex.

Edwards is a reliable performer, and Campbell does well enough opposite him. I'd even go so far as to say that Millington occasionally seems to be rising to the occasion with her performance, although she's hindered by the fact that viewers will be impatiently awaiting the time for her to get naked. Lake isn't too bad either, and Sutton makes the most of his small amount of screentime. You also get very brief turns from Windsor Davies and Kenny Lynch. They may have only one scene each, but they're very welcome appearances in between scenes featuring cast members who are much lesser-known.

Probably not one that many people will be rushing to watch, The Playbirds isn't half as bad as some other adult-oriented entertainment from this time. You still have problematic attitudes, and dialogue, but having a pot that feels like someone gave it more than a few seconds of thought it a big plus. The titillating nudity feels like a secondary consideration, which I understand many may view as a big drawback, but there's still enough to satisfy fans of the leading lady.

5/10

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