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Hammer Halloween Blogathon: The Devil Rides Out (1968)

10/24/2013

 
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A splendid example of Hammer Films operating at the height of their powers, The Devil Rides Out - released as The Devil's Bride in the U.S. to avoid being confused for a western - is pure class all the way. Elegantly directed by Terence Fisher, it features a fine script by ace horror scribe Richard Matheson (based on the somewhat forgotten but once famous novel by Dennis Wheatley), and stars one of the horror genre's biggest stars, Christopher Lee, in a role he has long claimed as a personal favorite. The Devil Rides Out wasn't a big hit at the box office and isn't nearly as well known as it should be, but it regularly appears near the top of most fan polls of Hammer's best movies. It's certainly an unusual sort of film compared to the studio's typical Gothic horror output, set as it is in the late 1920s world of art deco and English country estates, and revolving around black magic amidst a group of decadent Satanists. It's also unusual for giving the imposing Lee, so often typecast as villains (to memorable effect, it must be said), a chance to doff his Dracula cape and fangs and fight on the side of the angels for a change.

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The films opens with a bang and scarcely pauses for breath as it hurtles headlong through its story. Once every year, veterans of the Great War and ex-members of the Lafayette Escadrille, Nicholas, the Duc de Richleau (Lee) and Rex van Ryn (Leon Greene) meet up with Simon (Patrick Mower), the son of their dead wartime friend, for a celebratory dinner. No sooner has Rex landed his biplane upon the green swards of southern England and joined de Richleau in his expensive roadster than he finds out that this time, Simon has cancelled their heretofore unbreakable tradition for mysterious reasons.  De Richleau and Rex decide to pay an impromptu call on Simon at the country estate he's recently had built for him outside London. Upon their arrival, the pair discover that an odd sort of party appears to be in progress. Simon gives them a halfheartedly warm welcome but is obviously nervous about their presence, and it doesn't take long for the Duc to suss out what's really going on - Simon's got himself mixed up with a bunch of Satan worshippers, led by the suavely sinister Mocata (Charles Gray). For his part, the stalwart but skeptical Rex finds himself entranced by another party guest, an otherworldly  Continental beauty known as Tanith (Nike Arrighi).

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Tanith (Nike Arirghi), Rex (Leon Greene) and Simon (Patrick Mower) prepare for the inevitable battle with dark forces.

The Duc is outraged to find his young friend enmeshed in such dangerous activities, and when his entreaties to abandon these dark pursuits fall on deaf ears, swiftly knocks Simon unconscious, and he and Rex whisk him away from Mocata's clutches. Mocata doesn't take too kindly to de Richleau's interference - Simon and Tanith, Mocata's medium, are both crucial cogs in his diabolical plans and he's not about to let them out of his web. Thus begins a knock-down, drag-out struggle between the forces of good and evil. Eventually the battle moves to the home of de Richleau's niece, Marie Eaton (Sarah Lawson), her husband, Richard (Paul Eddington) and their daughter, Peggy (Rosalyn Landor), where the Duc must marshal all his arcane occult knowledge to defend his friends against Mocata's full-out, supernatural assault...

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To reveal much more of the plot would be a shame; it's not that the film features any great twists, but rather that the actual incidents of the simple yet effective story are best enjoyed as they unfold, for maximum suspense and thrills. Terence Fisher was Hammer's go-to director for stately, classical horror and he wrings all he can out of the modest budget. The Devil Rides Out looks sleek and sumptuous, and the production gets maximum value out of the strong cast, rich period decor of the sets, evocative locations (of several historic Home Counties manors) and a virtual fleet of gorgeous, classic cars. Matheson's script plays things straight up and serious, and follows the general outlines of Wheatley's novel fairly closely, retaining much of its Boys' Own Adventure appeal. The film is wonderfully edited and paced, and the score (written by James Bernard and supervised by Phillip Martell) is one of the best to grace a Hammer production, by turns eerie and pulse-pounding.

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It was Christopher Lee, himself an avid collector of works on the occult and a fan and friend of Wheatley's, who spurred Hammer on to make a film based on his works. According to Lee's autobiography, the powers that be at Hammer were - despite the often bright red blood and prodigious cleavage on display in their movies - quite conservative, and worried about audiences' reaction to an overly realistic depiction of a Black Mass. (1) They were eventually persuaded by Lee's insistence on close attention to the details of occult ritual, and an overt tone of Christian piety espoused by the Duc de Richleau throughout, especially at the film's climax. Matheson's script also wisely tones down the metaphysical mumbo jumbo - and outright eliminates the jingoism, anti-Semitism and digressive anti-Communist rants - that pepper the source novel and Wheatley's other works. Wheatley was a very successful and popular author in his day, but his books have fallen out of fashion (and print) in recent years. If one can get over his editorial asides and personal biases, Wheatley's best novels still make for good, page-turning escapist reading. Fortunately, Bloomsbury has just this month reissued The Devil Rides Out, as well as To the Devil - A Daughter and Forbidden Territory, in nice paperback editions, for those who might be interested in giving him a try.

In any case, Lee remains very proud of this film version, and his role as the Duc de Richleau. Perhaps a bit too young for the part as depicted in the novel (he seems to have added a light sheen of gray to his hair to counteract this), Lee is in all other respects spot-on in his characterization. He's all business here, barking orders and uttering ominous imprecations,  bringing every ounce of his imperious authority, regal bearing and commanding presence to the film. In every respect, this is the most iconic "hero" role of his career, and he makes the most of a golden opportunity.

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Dapper and smoothly evil, Charles Gray as Mocata
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Sarah Lawson as Marie

Leon Greene, who plays Rex, was French, and apparently his accent didn't pass muster with the brass at Hammer, as his voice is dubbed by the very butch sounding Patrick Allen (who appeared onscreen the year before in Night of the Big Heat, a.k.a. Island of the Burning Damned, with both Lee and Peter Cushing). One can't help feeling a bit sorry for Greene, who spoke perfectly fine English in a number of British film and television productions, and who must have been surprised and dismayed to hear another man's voice issuing from his lips when he saw the film upon release. (Hammer did this sort of thing upon a number of occasions, such as unnecessarily dubbing over Caroline Munro in Captain Kronos - Vampire Hunter.) Nevertheless, the dubbing comes off quite seamlessly and Greene cuts a believably rugged, dashing figure, and is just the right kind of salt-of-the-earth, two-fisted ally that the cool, collected Duc de Richleau needs in his corner when death is (literally) nipping at their heels.

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The Devil Rides Out also stands apart in its supporting cast, eschewing the regular Hammer stock company (Michael Ripper is conspicuous by his absence) for some welcome fresh blood. One such addition is Charles Gray, perhaps best known either for his appearance as Blofled in the shambolic 007 entry, Diamonds Are Forever, or (better still) to fans of the Jeremy Brett Sherlock Holmes series, as Holmes' wily brother Mycroft.  Gray is sublime here, practically slime personified as the oily Mocata, and carries enough thespic weight and menace to lock horns with Lee in their few scenes together. Gray is at his smug, silky best in the scene where he inveigles himself into the Eaton's home, using his superhuman will and malevolent mental powers to hypnotize Marie and control the minds of the sleeping Tanith and Simon in an attempt to kill their guardians, Rex and Richard. Only Peggy's timely interruption halts the spell, and a shaken Marie cries "Get out of this house!" Unfazed, Mocata heads for the door, pausing only to mutter a warning:

"I shall not be back...but something will."

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PicturePaul Eddington (right), a long way from YES, MINISTER.

Also memorable are Paul Eddington as Richard, doing a more sober dry-run of the befuddled yet game, "I say, wot?" British upper crust type that would lead him to great sitcom acclaim on TV's The Good Life and Yes, Minister. Nike Arrighi falters a bit with her thick French accent but does a nice job overall keeping Tanith a mysterious, conflicted character, and her unique, wide-eyed beauty seems well-suited to the 1920s setting. Patrick Mower is saddled with a pretty weak-willed character in Simon but has a great, angular and expressive face and does well with what he's been given, clearly depicting anguish and inner turmoil.

All told, The Devil Rides Out is a crackerjack supernatural thriller, with plenty of action, fisticuffs, car chases, and assorted other derring-do, a soupcon of romance, oodles of period atmosphere, and contains a few moments that still come off pretty creepy today
, including a rather tame but still disturbing midnight, woodland Bacchanal and some weird demonic manifestations. If it has a flaw, it's that some of the special effects in the finale let it down ever so slightly. As a fan of older movies, I'm used to old-school effects techniques and am pretty forgiving, but there's really no need to be in this case: by the standards of its time and budget, the F/X on display here are not bad at all (in fact, I think the Goat of Mendes is one of the better depictions of the devil on screen up to that time). Some disagree, however, to the extent that Studio Canal have released a controversial Blu-Ray edition in the U.K., complete with redone CGI effects. I have yet to see this version, but judging from the comments I've read online, the reception of these new effects seems to be decidedly mixed, to say the least...particularly as there is no option to view the original version on the release.

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I say, give me the original recipe every time. The Devil Rides Out is perhaps unlikely to be particularly scary for most modern viewers, but it remains a fast-paced, exciting and stylish thriller, as well as a fascinating oddity in Hammer's horror catalog. Its lackluster financial returns sadly put the kibosh on planned sequels featuring the Duc de Richleau and company, but the studio did try their hand at two other Wheatley adaptations, the fun and completely bonkers The Lost Continent and (as one of the last gasps of the studio in the 70s) To the Devil, a Daughter  - again with Lee, back to being a baddie this time. Lee has stated more than once that he would have loved to take another crack at the Duc de Richleau character. That dream never came to fruition, but he can rest content in the fact that he, and the filmmakers, got it right the first time.

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This post is part of the Hammer Halloween Blogathon hosted by the Classic Film & TV Café. Click here to view the complete blogathon schedule.


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Source Note: (1) Tall, Dark and Gruesome by Christopher Lee, published by Midnight Marquee Press, 1999.

DVD Note: Even though the (now out of print) Anchor Bay Region 1 DVD hails from the early days of the format (2000), the transfer is very nice, and looks quite good on my large HDTV. The aforementioned British Studio Canal Blu-Ray also comes with with an accompanying DVD version, if one doesn't mind the artistic tampering. 
ClassicBecky link
10/24/2013 03:33:39 am

"I say, give me the original recipe every time." Oh yeah, me too! I absolutely HATE artistic tampering, and would not be at all interested in seeing somebody's CGI messing up the work of the original artist. What nerve -- go create something yourself! Well, now that my little rant is done -- what a wonderful article, Jeff! As I've mentioned on a couple of other contributions to this blogathon, I've been amazed at how many Hammer movies I have not seen, and this is one of them. I'd LOVE to see it, too. It sounds great, and most of all because Christopher Lee considers it a personal favorite of his. Of course, anything Richard Matheson is involved with is bound to be good, not to mention Terence Fisher. I also am a fan of Charles Gray, the slimy one! Very interesting background on the film as well. Thanks for the heads-up on what sounds like something I would like a lot!

Jeff
10/27/2013 10:45:27 pm

Thank you Becky for the feedback! I didn't mind your "rant," as it's something I generally wholeheartedly agree with. If they must re-do the effects, then they should at least include the original version for those of us that want it (like they did on the original STAR TREK Blu-Ray sets...one of those rare occasions when the newly added effects work very well in their own right and are integrated seamlessly into the show, but the original versions are also offered).

Sergio (Tipping My Fedora) link
10/24/2013 04:55:45 pm

Great choice Jeff and I really think you give this film its due - it's a superb black magic thriller beautifully handled by Fisher and really does give Lee one of his best roles at Hammer. I do have the new disc and the CGI effects are a bit of a mixed bag (sic) - some work very well, others are much too contemporary-looking. Never read the book so really enjoyed hearing about the typical Wheatley excesses and prejudices all being present and correct! The film itself looks flawless and the disc is therefore well worth getting but follishly they did not include the scenes as originally presented, an incredibly stupid decision that they have I suspect greatly regretted though publicly they have been remarkably obtuse about it (a shame as I hope the company keeps releasing Blu-rays as most have been very impressive). Loved the post jeff - will definitely watch this again at the weekend as a tribute to the late, great Matheson.

Jeff
10/27/2013 10:48:49 pm

Thanks a bunch, Sergio! Good to hear from the horse's mouth so to speak about Studio Canal's "souped up effects" BD version. It certainly seems like they missed the boat on this one; it seems a no-brainer to include the original version of the film as well. Glad to hear the transfer is nice anyway, not that I'm surpised as it looks quite good on my old DVD.

Jeff Kuykendall link
10/25/2013 04:54:00 am

This is far and away my favorite of the Hammer horror cycle. Kudos on an excellent and thorough write-up. I still have a crush on Nike Arrighi, who ought to have made more Hammer pictures (she has a blink-and-you-miss-it role in "The Prisoner"; with her beauty and unique screen presence I'm not sure why she wasn't used more). I'm hoping this gets a Region 1 Blu-Ray release without the digital effects (or at least with seamless branching so we can avoid them if we want to stick to the original).

Jeff
10/27/2013 10:52:22 pm

I appreciate the comments, Jeff! Thanks for the tip re: Nike Arrighi's brief role in THE PRISONER, of which I wasn't aware. I'll be on the lookout for her next time I give that series (one of my favorites) a spin. Ms. Arrighi does have an interesting, unique look. I'm with you all the way in wishing for a Region A Blu-Ray without any supposed "added value."

Colin link
10/25/2013 05:34:39 am

Another wonderful write-up Jeff on what I also reckon is one of Hammer's best offerings. The good vs evil storyline and the battle for souls is one of the classic themes, not only of horror stories. I think what I like best about this film is the perfect pacing - it hits the ground running and never lets up.

I have a number of Wheatley novels, including this one, resting on my shelves but I've only read a couple. There is, as you point out, a lot of eyebrow raising stuff but the stories themselves are very entertaining if you can get past that aspect.

I have the old Optimum DVD, and it's good enough for me. he tampering on the Blu-ray is something I want no part of to be honest.

Jeff
10/27/2013 10:56:00 pm

Cheers for that, Colin! We're on the same page with this film, as usual (I seem to remember it being high on your personal "Top Ten Hammer" list when we discussed this last year (re: my review of THE GORGON). It really is a nice piece of work.

Wheatley hasn't dated well in some aspects, but as you say his storytelling instincts were sound. I need to get ahold of more of his novels, old paperbacks of which seem to be pretty easy to track down in the U.K. but far less so in the States.

Rick Armstrong link
10/25/2013 09:47:20 am

Definitely one of Hammer's best, there is so much I like about THE DEVIL RIDES OUT: the 1920s setting; the casting of Christopher Lee as a good guy; the suave villain; and the way it jumps right into the plot. Plus, there are genuinely disturbing sequences--the most effective being when Charles Gray's cult leader appears in the rearview mirror of a car (so glad you included a vid cap of that nifty shot). In many ways, it reminds me of a Hitchcock film (especially Gray's charming villain and the suspenseful scene where he makes a house call). The climax is a doozy, though it's a shame that Hammer couldn't have spent more to make the spider look better. Excellent choice for the blogathon and a wonderful write-up, Jeff!

Jeff
10/27/2013 11:00:32 pm

Thanks a lot, Rick - and thanks again for putting this cool event together! There is, as you mention, a lot of things to like about this film, and you're right that it has a bit of a Hitchcockian vibe, though that hadn't really struck me before. Glad you enjoyed the screencap of Charles Gray's eyes glaring out of the rearview mirror...one of my favorite scenes in the film.

The giant spider effects are arguably the weak link in the film's climax, but again aren't sooo bad. Certainly none of the F/X in THE DEVIL RIDES OUT are anywhere NEAR as inept as the decapitated Gorgon head in that Hammer film.

Barry P. link
10/26/2013 05:52:14 pm

Nice review Jeff! The Devil Rides Out has been on my "must see" list for a number of years. Now if they'd just release a new, un-doctored, version of this in the States.

It's always refreshing to see Lee in a non-villain role. I'm sure he was more than eager to tackle this film, to break away from the Dracula mold.

Jeff
10/27/2013 11:03:35 pm

Thanks very much, Barry! I do hope you get a chance to see this film sometime. If you're Region 2 compatible, the Optimum DVD Colin mentions above is still in print and quite reasonable. Christopher Lee always seems energized to me when he gets a chance to play a good guy for a change (he's also in good form in THE GORGON and the non-Hammer HORROR EXPRESS.)

Kevin Deany
10/28/2013 06:36:26 am

Jeff, this is probably in my top three Hammers and you did a great job on it. Like you said it starts with a bang and doesn't let up for a minute.

I've always liked the party scene at the beginning, the one that Lee and Greene crash. The mix of odd-looking people and the tension when its learned there's too many people in the room has a nice uneasy frission to it.

I do have a complaint about the special effects, however. The spider, is annoying, but not terribly so. Spoiler Ahead: But when the Angel of Death reveals himself, its in front of a blue process screen. They didn't even take the time to fill in the background of the library. It's a green screen, for cryin' out loud! . Quite unforgivable.

Still, the rest of the film is so good, I overlook it. I'd rather have a great film with less than pristine special effects than a mediocre film with superior effects.

And I am the only one that thinks Leon Greene who could pass for Rod Taylor's little brother?

Jeff
10/31/2013 08:32:25 pm

Hi Kevin! Thanks a bunch for the comments. and sorry for the late reply. You're right to point out the early party scene...the casting of some bizarre-looking actors to play the assembled Satanists was very effective - especially the lady who played the Countess (the one who almost runs Rex down in her car later on).

I hadn't really noticed the background in that brief Angel of Death close-up...I'm usually too busy wishing they had done a bit more than just pop a physiology class skeleton in a helmet.

Good call re: Leon Greene - he does indeed look like Rod Taylor!

R.A. Kerr link
11/2/2013 08:03:10 am

Not sure I would watch this film, but it does has a beautiful look to it, judging by the screen caps. I really enjoyed your review, Jeff, because you really have infectious enthusiasm for the films you love. Plus, you always add such interesting background info. I always feel a little more knowledgeable after reading one of your posts.

Jeff
11/3/2013 05:46:36 am

That's very kind of you, Ruth - much appreciated! I can see how the subject matter could be off-putting to some, but this really is a classy creepshow and not as unsavory in tone as the plot description might imply. Looking forward to catching up with your Abbott & Costello piece soon, As always, thanks for stopping by!


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