I'll get into the specifics more later about the pre-credit sequence that opens the movie. As someone who typically steers clear of horror movies, I couldn't pass this one up stumbling across it on TCM's schedule recently. The cast is mostly what caught my eye because the story description certainly didn't sound too interesting. This isn't a horror movie of 2011 with shock value and gore, instead building up suspense and tension with its gothic feel. What to make of it? I have no idea. It was weird, but I think...think...I liked it.
A well to-do businessman in Paris, Phillipe de Montfaucon (David Niven) must return home when news of his estate's vineyards dying reaches him. A few days later, his wife, Catherine (Deborah Kerr), joins him at the estate -- called Bellenac -- with their two children. Catherine begins to see strange, unexplainable things one night but can't find anyone to answer her questions. She even sees members of something that looks like a cult gathering in the expansive estate home, but just can't figure it out. Her mother-in-law, Countess Estelle (Flora Robson), seems to know what's going on but won't tell her a thing. She begins to worry for her safety, her children's, and also of her husband. Could he possibly be involved with these strange happenings? More importantly, if he is involved, can Catherine save him?
For starters, let's start at the start...words are fun. Before a credits sequence or a title cards, we get a lightning quick montage, edited within an inch of its life that immediately sets the tone for the rest of the movie. Now as I look for it, I of course cannot find a clip of this sequence. It is an odd assortment of quick images -- a dove pierced with an arrow, a woman's eye, a man's head, a train speeding down the tracks, among many others -- that is edited together so quickly it can be hard to make anything out of it. The sequence feels like something A Clockwork Orange would have used 5 years later. Regardless of the background though, it pulls you into the movie. You want to, you need to know what those disparate images mean and how they're related.
Cheap thrills are one thing, and genuine fear and uneasiness are another. Gory, shocking, 'Gotcha!' moments are part of the reason I dislike horror movies so much. There is a subtlety to older horror movies that more recent ones are just missing. Some complaints are that director J. Lee Thompson does go to the old horror cliche book a few too many times, but for the most part the scares are genuine. The off-center camera angles telegraph everything that's going to happen, and the dark, spooky shadows always reveal something hidden away. But still, the scares are there. 'Devil' is filmed in black and white, and it definitely has a gothic feel, especially in this immense, extravagant, lavish French manor that looks like it's out of the 1700s. Throw in composer Gary McFarland's eerie, Church choir-like score, and you've got all the makings.
I'll admit it. I'm a sucker for big names when I see a cast listing. Why else would I watch a basically unknown British horror movie from the 1960s? David Niven and Deborah Kerr in the starring roles sounded perfect for me so surprisingly enough, I thought they were the weakest parts of the cast. Niven sleepwalks through his role, disappearing for long stretches of the movie. Kerr basically looks nervous the whole movie, screaming occasionally. The rest of the cast makes up for it. Master of understated creepiness Donald Pleasence plays a creepy priest, Pere Dominic, Robson is the tortured woman who knows the whole truth, and Edward Mulhare is a longtime friend of Kerr's Catherine. The best thing going for 'Devil' is David Hemmings and Sharon Tate as Christian (an albino archer?) and Odile, brother and sister who always know more than they let on.
You know that feeling on Christmas Eve when you see your presents wrapped up nicely under the tree? Now, I loved my presents -- always have -- but the anticipation and mystery is part of the appeal. More and more, I find that's the case with movies that hold out on you until the finale with a huge, major revelation. The build-up here is all the fun because the reveal disappoints. Think mix between The Wicker Man and The Omen, but that's all I'll say. The ending never quite explains everything either, hinting at and beating around the bush, but never laying everything out. I definitely was creeped out by this movie, but the ending left me disappointed unfortunately.
Eye of the Devil <---TCM trailer (1966): ** 1/2 /****
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