Review: The Devil Rides Out

Nobleman Duc de Richleau (Christopher Lee) realises that his friend Simon (Patrick Mower) has fallen in with a coven of Satanists known as The Society, and led by the purple-robed Mocata (Charles Gray). Mocata has quite the hold on the mind of his followers like Simon and Tanith (Niké Arrighi), and Duc de Richleau must find a way to keep Simon and Tanith away from his evil grasp. This is no easy task given Mocata’s powerful and wide reach, and seeming powers of mind control/mesmerism.

 

Christopher Lee suggested to Hammer Studios that they tackle a Dennis Wheatley novel, and thus we have this 1968 occult movie from director Terence Fisher (“The Curse of Frankenstein”, “The Horror of Dracula”) and American screenwriter Richard Matheson (“The Incredible Shrinking Man”, “The House of Usher”, “The Pit and the Pendulum”). This is one of the better films of its type and more well-made than the later “To the Devil- A Daughter”, also a Wheatley adaptation. In that fairly OK but flawed film, Christopher Lee played the charismatic Satanist villain, while here he got a rare chance to play the hero. His Duc de Richelieu is one of Lee’s most memorable characters and performances, a little reminiscent of the Nayland Smith character who was always trying to foil Lee’s supervillainy in the “Fu Manchu” series. He’s actually cool as hell here, with a particularly fierce-looking Van Dyke beard. Lee had an amazing voice, booming and commanding in its baritone, but also somewhat mellifluous at times. Both of those sides to his voice get a workout here. When Lee’s character tells you that evil is more than mere superstition, you believe him.

 

Although he made for an absolutely terrible, limp-wristed Blofeld in “Diamonds Are Forever”, Charles Gray is well-suited to playing Satanic cult leaders and actually runs off with the whole film in his best-ever showcase in my opinion. His piercing eyes in particular serve him well here, but there’s also something innately kinky about him. Whatever else you might say about him, the performance undeniably works. He’s very convincing as the kind of arrogant, arched-eyebrowed guy who would front a Satanic cult called The Society. His devil-worshipper is truly evil in the way he psychologically targets people, most notably at the climax. In support, Patrick Mower is a lot better here than he was in “Cry of the Banshee”, but once you find out that Leon Greene’s voice was dubbed by the very distinct Patrick Allen, you won’t be able to take him seriously. It’s obvious and distracting. Given Allen’s wife Sarah Lawson is here (and doing really well in a histrionic role), why not just have Allen play the part? Sure, you’d have to rewrite it for an older man (and perhaps Allen was only available in post-production), but it’s just so silly. It might even be the film’s biggest flaw, to be honest. Why dub an English actor with another Brit? I doubt it was a Jack Hawkins situation where the poor guy lost his voice for severe health reasons.

 

Despite taking place largely indoors, the film is one of Hammer’s best-looking features. This is a studio that was always known for making the most out of meagre funds (at least in their better years) and that’s clearly the case here. The interior set design is especially excellent, really gorgeous and vibrant colour and nice use of shadow by cinematographer Arthur Grant (“Hell is a City”, “The Curse of the Werewolf”, “Blood From the Mummy’s Tomb”). Although it’s not remotely subtle, the music score by Hammer stalwart James Bernard (“The Horror of Dracula”) immediately has you standing up and taking notice without being intrusive. The film has dated in some elements, including on the cultural/racial front (The novel was written in the 1930s, I should point out). There’s some pretty poor projection work here and there too and the optical FX are obviously dated. This was 1968 so slack needs to be cut here somewhat. Well, except the projection work that was beneath Hammer as far as I’m concerned. I can’t defend that if I rake Hitchcock over the coals for the same offence.

 

If you like your devil worshipper films this is a must-see as it’s one of the better ones out there. Christopher Lee acquits himself well as a dashing protagonist, evil-eyed Charles Gray steals the film as the head Satanist. Well-shot, well-scored, and good fun all-round. One of Hammer’s best films, in fact I found it even better on repeated viewing.

 

Rating: B