MARK OF THE DEVIL. (1970) REVIEW BY SANDRA HARRIS. ©


MARK OF THE DEVIL. (1970) DIRECTED BY MICHAEL ARMSTRONG. PRODUCED BY ADRIAN HOVEN. SCREENPLAY WRITTEN BY MICHAEL ARMSTRONG AND ADRIAN HOVEN.
STARRING HERBERT LOM, REGGIE NALDER, OLIVERA VUCA, GABY FUCHS, UDO KIER, INGEBORG SCHONER, ADRIAN HOVEN AND HERBERT FUX.
REVIEW BY SANDRA HARRIS. ©

I absolutely love this film, but, if I tell you that vomit bags were issued to movie patrons during screenings of it in America, it might give you a teensy-weensy clue as to how violent and stomach-churning it can be at times. If you’re of a nervous or wobbly disposition, I strongly suggest you refrain from viewing it.

If, however, you’re like me and thoroughly enjoy a good witch-burning movie from the late sixties/early seventies, you’ll absolutely bloody love it. When a horror film starts with nuns being raped, you know it’s time to usher the kids up to bed, hunker down and open the wine. Some seriously adult stuff is about to go down…

The original screenplay was for a film entitled THE WITCH-HUNT OF DOCTOR DRACULA, the brainchild of producer Adrian Hoven, which (sadly?!) never got made. Instead, hot young British director Michael Armstrong was invited on board and he turned the film into pretty much the best witch-finding film ever made. It even out-witch-finder-ed Michael Reeves’s WITCHFINDER GENERAL from 1968 starring Vincent Price, and that’s a cracking film.

Although the finished product is a top-notch horror film, the production was troubled from the start. All the juicy, funny and even at times outrageous behind-the-scenes gossip can be found in Michael Armstrong’s gorgeous glossy screenplay book, MARK OF THE DEVIL, currently for sale from Michael’s own website and from his publishers, Paper Dragon Productions. I’ll pop links in at the end.

The film itself is unforgettable. Set in a village in seventeenth-century Austria, it begins with the local witchfinder, a hideous-looking villainous murderer called Albino, capturing the aforementioned nuns and one monk and sentencing them to death for allegedly practising witchcraft.

Without a shred of proof, a hint of a formal indictment or a ghost of a proper trial, I might add. But that’s just the way they did it back then. The nuns and monk die horribly, but that’s only the beginning of the viewer’s nightmarish trip back in time to witch-burning Europe.

Back in those days, you could accuse someone of witchcraft if they’d pissed you off even slightly or if you fancied taking their cow or pig for yourself. It seemed like all you had to do was point the finger and an angry mob would form behind you, baying for the ‘witch’s’ blood. Remember Homer in THE SIMPSONS? ‘I accuse Goody Flanders…!’

And these are only the locals. When the Church-and-state-appointed Witchfinder trundles into town in his carriage (which may have been used by a real witch-finder back in the day; filming was done in an Austrian castle which contained a genuine torture chamber and real, authentic instruments of torture), things are about to get a whole lot worse. Oh yes, they can get worse…!

The horrible local witchfinder Albino has accused a beautiful young barmaid called Vanessa Benedict of being a witch. Why? Because she won’t have sex with him and fights off his attempted rape of her, and who would blame her?

He’s a vicious, murdering thug who enjoys raping women and hurting people of either sex. He gets immense satisfaction out of pricking her with his infamous ‘witchfinder’s needle,’ looking for the so-called ‘Devil’s mark.’

Vanessa is brought before the ‘court’ of the new witchfinder in town, the stern Lord Cumberland, well played by Herbert Lom. Vanessa is thrown in jail to await the preparation of the formal indictment against her, much to the distress of Count Christian von Meru, Lord Cumberland’s young apprentice witchfinder.

The divinely handsome Christian (oh God, those beautiful eyes!)  is madly in love with the busty Vanessa and she with him, but Lord Cumberland advises Christian to put aside the temptations of the flesh and concentrate on ridding the world of the evils of witchcraft.

But Christian has extremely high ideals and morals, and when one fateful day he sees his adviser and mentor Lord Cumberland commit an act that no decent man of the cloth would ever so much as contemplate, he finds himself terribly torn, torn between his love of Mother Church and his love for Vanessa, a real human female who can fill his life with love, warmth and laughter. Which will he choose, and what will it cost him…?

The Austrian scenery- the mountains, the lakes, the rolling green hills- is stunning to look at (the hills are certainly alive), and I love the score as well. The film is most famous- or should that be notorious- for its torture scenes, and the reputation is warranted, I tells ya, warranted. Don’t you be telling me it’s not warranted. And if you tell me you think the film’s depiction of torture is too graphic, I’ll just say this: it all happened that way in real life, didn’t it…?

Poor beautiful Deirdre von Bergenstein and the young Baron Daumer experience the full benefits of Lord Cumberland’s dubious hospitality. What’s on the menu? Well, the thumbscrews, the rack, whipping, both on the body and on the soles of the feet, a special chair with nails sticking up out of it for the posterior and, for Deirdre, something so disgusting and terrible that vomit bags had to be issued alongside your cinema ticket back in the day. And some of them were actually used for that exact purpose, as well. By the way, I thought the water torture guy was getting off lightly at first, but, by the time we’d witnessed his total mental degeneration, I wasn’t so sure…

The film does an excellent job of showing us exactly why witch-finding was so popular back in those days. The Church benefited by confiscating the property and riches of any wealthy noblemen- or women- they accused of witchcraft.

The prisoners might escape with their lives if they signed their estates over to the Church, and if they refused to do so, they were burned as witches and the Church nicked their stuff anyway. Win-win, but not for the poor victims. Talk about a cast-iron, Church-and-state-sanctioned excuse for raping and pillaging. Disgusting.

I love Herbert Fux as Jeff Wilkins, the witchfinder’s heavy. He carries out the torture with such gusto! You don’t often get to see a man enjoying his job so much. Gaby Fuchs is wonderful too as the poor brutalised Deirdre, and Udo Kier and Olivera Vuco as Christian and Vanessa make an exceedingly good-looking couple. Does their story have a happy ending? You’ll have to watch this controversial cult classic to find out, folks. But keep those vomit bags handy, just in case…    
  
You can buy all of Michael’s screenplay books at the following links:
 
http://www.michaelarmstrong.co.uk
http://www.paperdragonproductions.com

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, poet, short story writer and film and book blogger. She has studied Creative Writing and Vampirology. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, women’s fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

Her debut romantic fiction novel, ‘THIRTEEN STOPS,’ is out now from Poolbeg Books:

The sequel, ‘THIRTEEN STOPS LATER,’ is out now from Poolbeg Books:

THE PHANTOM OF THE OPERA: THE HAMMER VERSION. (1962) REVIEW BY SANDRA HARRIS. ©

Phantom of the Opera Lom

THE PHANTOM OF THE OPERA. (1962) A HAMMER FILM PRODUCTION. A UNIVERSAL INTERNATIONAL RELEASE. BASED ON CHARACTERS CREATED BY GASTON LEROUX IN HIS NOVEL OF THE SAME NAME.

STARRING HERBERT LOM, MICHAEL GOUGH, THORLEY WALTERS, EDWARD DE SOUZA AND HEATHER SEARS. FEATURING MICHAEL RIPPER AND MILES MALLESON AS CABBIES AND PATRICK TROUGHTON AS THE RAT-CATCHER!

REVIEW BY SANDRA HARRIS. ©

This fantastic Hammer Horror has as its central character one of the greatest horror icons of all time, Gaston LeRoux’s Phantom Of The Opera, a chap made immortal by Lon Chaney’s stunning silent movie performance of same in 1925. Lon Chaney’s Phantom will always be the best, but Claude Rains turned in a great performance too in the 1943 movie and so does Herbert Lom in this version we’re discussing today.

So, we’ve got a gorgeous London theatre (sorry but it’s not a patch on the Paris Opera House, sorry sorry sorry, lol) in which Michael Gough’s Lord Ambrose D’Arcy is about to stage for le premier fois an opera about Joan of Arc he’s written himself (ahem!). More about this scurrilous lie later on.

Lord Ambrose is the meanest villain you’ve ever seen. He’s rude, haughty, proud and arrogant already because he’s aristocracy, although aristocratic is as aristocratic does, surely? He’s a diva-like little uppity snob, this fella. And as for his behaviour on the casting couch, well! He makes some of today’s disgraced ‘celebrities’ look like amateurs and also-rans…

He engages as his Joan a pretty and immensely talented chorus singer called Christine Charles. He takes her out to dinner as part of the deal and tries to entice her home to his apartment afterwards so that she can show him exactly how ‘grateful’ she is for his having given her the job. The dastardly devil!

Christine, however, has the common sense and good morals to be repulsed by the Lord’s odious intentions. She turns for help to Lord Ambroses’s detested producer, the much younger and handsomer Harry Hunter, played by the darkly delicious Edward de Souza (KISS OF THE VAMPIRE). Harry is only too delighted to save Christine’s honour by performing as we say in ze French, le cock-block for the furious Lord Ambrose. Heh-heh-heh. So funny.

Christine gets the sack, unfortunately, for not putting out. You could totally sue for that nowadays. Harry resigns in sympathy with her and these two are an item from now on. Their troubles aren’t over, however. Far from it.

‘There’s something evil in this theatre,’ as an astute Harry observes. Someone has committed ‘suicide’ there during a performance and there have been odd little things happening that have led the theatre staff to think that the place is haunted. The deserted Box Five is the place from which You-Know-Who watches the performances. His beloved music continues to be his life.

And certainly, Christine has been spoken to in her dressing-room by a disembodied male voice, cultured and authoritative, who seems to want to turn her into the greatest singer the world has ever known. Well, that’s not to be sniffed at, I daresay.

I must say that I thoroughly approve of the Phantom’s musical Boot-Camp, which comes later on in the film. If I’d had someone to slap me about, shout abuse at me and throw water in my face every time I looked to be putting down my pen, I might have gotten more writing done in my lifetime, lol. Some people would pay good money for that kind of encouragement. It’s worth its weight in gold, truly.

When we learn of the tragic Professor Petrie’s story, it really is perfectly obvious that Lord Ambrose D’Arcy is a thief, a bully, a scoundrel and a villain of the highest order. How dare he do what he does to Professor Petrie, a musical genius and an honest if impoverished man of morals? A come-uppance is sorely needed here for the evil Lord Ambrose.

The performance of Joan is so moving I was in tears at the end of it. I was also thinking of two things during it. Firstly, did Heather Sears really have to cut her lovely long hair in order to give her that sleek, utterly boyish cap she sports at the end of the performance? That would have been a shame, because her crowning glory is so gorgeous.

Secondly, I was thinking of THE SIMPSONS. In one of their historical anthology episodes, Lisa Simpson plays the martyr Joan of Arc and, in one scene, when she’s sitting down, the voice of God calls out and says: ‘Joan, give me your dessert!’ and you just see this chocolate eclair ascending into Heaven in a ray of heavenly light accompanied by celestial music. Sweet.

The scene in Joan where she’s being ‘tried’ for heresy by a court full of men makes me so freaking angry. They sentence her to burn at the stake because she refuses to say that she no longer believes in what she believes in, that in fact she now believes what they believe.

The timing of me re-watching this film is kind of funny because yesterday, October 26th 2018, the Irish people (those that could be bothered, that is, because a lot of us apparently didn’t) went to the polls to decide whether or not they want blasphemy to no longer be a crime. As in, you can no longer be charged with blasphemy if you say something that someone else doesn’t agree with, or say something derogatory about God.

I don’t know if that many people were ever charged with blasphemy here in Ireland, but it’s probably just as well to do away with such an out-moded concept. When you think of all the women- and men- in Joan’s day who were tortured and/or executed in horrific ways for saying or believing things the Church didn’t agree with, well, it’d make your blood run cold.

The Salem Witch Trials are another terrible example of such ridiculous fears and intolerances taking hold of a community and rampaging through it like wildfire. Anyway, the lovely Christine Charles’s Joan is an absolute triumph. If you don’t sob like a baby when she’s going up those stairs towards the flames, well then, you must have a heart of stone, lol. Enjoy le film. It’s another marvellous triumph for Hammer Horror.

AUTHOR BIOGRAPHY OF SANDRA HARRIS.

Sandra Harris is a Dublin-based novelist, film blogger, poet and book-and-movie reviewer. She has studied Creative Writing and Film-Making. She has published a number of e-books on the following topics: horror film reviews, multi-genre film reviews, womens’ fiction, erotic fiction, erotic horror fiction and erotic poetry. Several new books are currently in the pipeline. You can browse or buy any of Sandra’s books by following the link below straight to her Amazon Author Page:

http://www.amazon.com/-/e/B015GDE5RO

You can contact Sandra at:

https://www.facebook.com/SandraHarrisPureFilthPoetry

https://sandrafirstruleoffilmclubharris.wordpress.com

http://sexysandieblog.wordpress.com

http://serenaharker.wordpress.com

sandrasandraharris@gmail.com

https://twitter.com/SandraAuthor