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

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews
Or Amazon is nice at this time of year - https://www.amazon.co.uk/hz/wishlist/ls/Y1ZUCB13HLJD?ref_=wl_share 

Prime Time: Whoever Slew Auntie Roo? (1972)

There are some titles that just grab you. Whoever Slew Auntie Roo? is one of them. When I saw this during some time spent once again browsing the internet for my next viewing choice, I knew I had to check it out. Seeing the cast also helped, with roles here for Shelley Winters, Ralph Richardson, and Lionel Jeffries, as well as quite a few other familiar faces.

Winters plays the titular character, although her name is actually Mrs. Forrest. Having survived both her husband and her young daughter, Mrs. Forrest isn’t in possession of every single one of her marbles, but that doesn’t stop her from doing some good deeds, with an annual tradition being her meal and party for a group of randomly-selected orphans from a nearby home. But the latest visitors feature a young girl (Katy, played by Chloe Franks) who seems to resemble Mrs. Forrest’s daughter, which ensures that Mrs. Forrest keeps trying to give her extra attention. Something doesn’t seem right, and Katy’s bother, Christopher (Mark Lester), suspects that Mrs. Forrest is a witch who means to harm the children.

Directed by Curtis Harrington, who seemed to spend the ‘60s and ‘70s helming many films in this vein (his previous feature is titled What’s The Matter With Helen?), and written by David Osborn, Robert Blees, and Jimmy Sangster, this is a mix of character study, melodrama, and psychological thriller that manages to do a good job with every individual aspect being blended into the narrative. It’s also quite different from what you might expect, with viewers being wrong-footed by the first half of the movie before realising exactly who might end up being painted as heroes and villains.

Winters is very good in her role, playing a typically warm-hearted and loving matriarchal figure. She gets to overact occasionally, but that really helps with what is sometimes a twisted panto atmosphere. Lester and Franks are both very good, making great use of their angelic little faces as they scheme to escape someone they view as a major threat, and both Richardson and Jeffries excel in small roles that still give them enough time to make their usual strong impressions. The other person to mention is Michael Gothard, a member of the household staff who plans to get himself a much bigger payday than usual from his vulnerable employer.

There are many other ways this could have gone. The whole thing could have been much darker, it could have been played comedically, it could have been a more straightforward game of cat and mouse (and it’s worth noting the extra satisfaction of seeing Winters cast in a central role in something that seems to subvert The Night Of The Hunter), but I am pleased with the strange delight that we got. I may not recommend it to many people, but I hope others give it a try, and some may enjoy it as much as I did.

7/10

If you have enjoyed this, or any other, review on the blog then do consider the following ways to show your appreciation. A subscription/follow costs nothing.
It also costs nothing to like/subscribe to the YouTube channel attached to the podcast I am part of - https://www.youtube.com/channel/UCErkxBO0xds5qd_rhjFgDmA
Or you may have a couple of quid to throw at me, in Ko-fi form - https://ko-fi.com/kevinmatthews