Review: Cry of the Banshee

A 16^th Century England tale of puritanical tyranny and witchcraft as Vincent Price stars as a ruthless lord and magistrate who puts the followers of a witch (Elizabeth Bergner) to death. Her life spared, Bergner prepares to carry out her vengeance on the sadistic Price and his family. Patrick Mower plays a young servant, Hugh Griffith plays a gravedigger, Stephen Chase is Price’s nasty son, and Marshall Jones plays the very serious-faced local vicar.

 

Although not remotely well-regarded by critics, this 1970 blend of “Witchfinder General” and the Roger Corman series of Edgar Allen Poe adaptations is actually quite underrated. Directed by Gordon Hessler (The disappointing duo of “The Oblong Box” and “Scream and Scream Again”), it’s certainly got some flaws, but I get the feeling that the people who hate this film saw the heavily cut U.S. version. Although he was apparently not too fond of the violence in some of his later films, Vincent Price is in jolly good form here playing an absolute bastard. In fact, his character and several other aspects might remind you of “Masque of the Red Death”, albeit not quite as good as that popular Poe-based Roger Corman flick (This film’s connection to Poe lies in a mere quote at the beginning). However, performance-wise Price is much more grim and not as lip-smacking, somewhat closer to his performance in “Witchfinder General”. I’m not saying he’s subtle – it’s Vincent Price – but he’s rock-solid nonetheless.

 

Price isn’t the only one to impress here. There’s an especially odious, brief performance by Stephen Chase early, and a great small turn by a hammy Hugh Griffith, the veteran coming off like a British version of cock-eyed Jack Elam. He’s the only levity here, really. Michael Elphick makes for a nasty henchman, too. Most of the performances by those I was less familiar with are solid, with Hilary Heath (credited as Hilary Dwyer, which was her real name) rather lovely, Marshall Jones is sturdy as the local priest, and Elizabeth Bergner good hammy fun as the vengeful witch. However, Carl Rigg and Patrick Mower in particular are a bit rough.

 

Hessler and screenwriters Tim Kelly (“Sugar Hill”, “Black Fist”) & Christopher Wicking (“Scream and Scream Again”, “Blood From the Mummy’s Tomb”, “To the Devil – a Daughter”) offer up a cruel, harsh worldview, with women especially being poorly treated. Violence-wise it’s not as brutal as say “Witchfinder General” or the notorious “Mark of the Devil”, but it’s still quite bleak in tone and more violent than Hammer’s output. The ‘banshee’ attack on Essy Persson is bloody and effective whilst obscuring the presumably cheap monster in darkness. It’s the best scene in the entire film, though when we finally do see the banshee makeup it’s…unfortunate, thankfully only a brief moment. The ending is grisly, and although it sets up a sequel that never eventuated it’s still an appropriate conclusion. It’s a lovely-looking film production design and cinematography-wise, actually a little more indicative of Hammer than AIP.

 

Like I said, there are flaws. It takes too long to get to the actual central plot here, though what we get before that isn’t exactly unenjoyable. What is unenjoyable and very indicative of AIP is the cheap-sounding music score by the usual offender, Les Baxter (AIP’s go-to composer). AIP never did learn from Hammer in that regard, Hammer’s music was always exemplary. Well, let’s hold up a second there ‘coz to be fair it’s a bit confusing. Apparently Wilfred Josephs (“Dark Places”, “The Uncanny”) is supposed to have been the composer for the uncut/British version of the film, but I know a Baxter score when I hear one, so either Baxter does the whole thing and what I’ve read is wrong, or at least parts of Baxter’s score make it into the version I saw. I definitely viewed the UK version because it contains the Terry Gilliam titles design that was cut from the American release, but parts of the score definitely have that cheapo AIP Les Baxter (“The Pit and the Pendulum”, “The Raven”, “The Terror”) woodwind instrument vibe.

 

Slow-moving but highly watchable horror outing with a strong performance by Vincent Price, amusing animated titles design by Monty Python’s Terry Gilliam, and an interesting if familiar plot. A lot better than you’ve heard, at least in its uncut form.

 

Rating: B-