I know this one's been covered ad nauseam, but it's a favorite and I just got the beautiful French blu-ray which reminded me all over again what an excellent film this is (BTW, screen caps are from the Region 1 DVD). Produced in Britain by transplanted American former child actor (Monogram's THE EASTSIDE KIDS) Hal E. Chester and directed by Val Lewton alumnus Jacques Tourneur NIGHT OF THE DEMON was one of the first British films to present demonology and witchcraft as serious subject matters and place them in a modern setting, but also tying them to Britain's past with its images of Stonehenge and the use of ancient folk melodies. It can be looked upon as a precursor to CITY OF THE DEAD (1960) and the THE NIGHT OF THE EAGLE (1962), in addition to Hammer's THE WITCHES (1966) and THE DEVIL RIDES OUT (1968).
Based upon the short story "Casting The Runes" by Edwardian ghost author M.R. James, it was released in the U.S. by Columbia as CURSE OF THE DEMON and was trimmed from the 95 min. British cut down to 81 min thereby making it more adaptable to double features, where it was often paired up with Hammer's THE REVENGE OF FRANKENSTEIN. In the pre-home video world this was bit of a holy grail for horror fans (especially the mythical "British cut") as it was infrequently shown on TV, but was always heavily promoted in Famous Monsters with that ad for the Castle 8mm version staring out from the back ads in practically every issue. In 1987 Columbia by happy accident released the British cut on laser disc (with the CURSE title card slapped on) and this was the version seen going forward until a 2002 DVD release presented both versions as two separate films.
Starring former Hollywood quasi "A" lister Dana Andrews as Dr John Holden, a seemingly world famous American psychiatrist (and non-believer in the supernatural) who travels to London to attend a conference on the paranormal, that's end purpose seems to be the ruination and discrediting of cult leader Dr. Julian Karswell (as portrayed by the wonderful Naill McGinnis). In the opening sequence we're shown Holden's British colleague Henry Harrington traveling through a darkened countryside (in a beautifully atmospheric succession of shots) to the large country estate of Karswell. Once there he begs Kraswell "to put a stop to this thing" and after being hastily dismissed by him travels back home where is killed by a huge winged demon figure (still one of horror's most startling apparitions) that materializes out of smoke & light along (along with an oddly creepy "chirping" sounds).
There has always been much debate on the full-on showing of the demon and Tourneur's participation (or lack thereof) in filming the two sequences showing it. The French born Tourneur cut his teeth for RKO in the 1940's working on Val Lewton's famous series of low budget and atmospheric horror films. He directed THE CAT PEOPLE (1942) along with 1943's I WALKED WITH A ZOMBIE & THE LEOPARD MAN and always maintained that it was his intention that the demon remain largely unseen and that the sequences with it fully visible were added post production while producer Chester claimed that they were filmed by Tourneur. Originally Ray Harryhausen was contacted to model the demon figure in stop motion but when he was unavailable a puppet was used along with a close up of an articulated rubber head and claw (and in one memorable shot, a huge cloven hoofed leg). The special effects hold up remarkably well to this day, but for the climax the puppet is strangely substituted for an obvious man in in a rubber suit (and a rather pudgy one at that).
Upon arrival in England Holden meets up with Harrington's daughter Joanna (played by Peggy Cummins - who had appeared in Joseph H. Lewis's delirious and ground breaking GUN CRAZY in 1950). In spite of Holden being the well respected Doctor, its Joanna playing a kindergarten teacher (Karswell himself at one point refers to her as "that terribly bright young woman") who serves as the believing voice of reason as the stubborn Holden seems headed to the same fate as his earlier colleague. It's amusing to see that in this being a British production Holden is portrayed as the pig headed and know-it-all American (obliviously headed to his doom) while its up to the crafty Brits (both in terms of his allies and nemesis) to set him straight.
As far as his nemesis there is much to be said for the performance of British character actor Naill MacGinnis as the warlock/ cult leader Julian Karswell. With his wild tufts of hair and pointed goatee he could be easily played as manically laughing villain all the while stroking his said beard and chewing bunches of scenery, but its to MacGannis talent (along with Tourneur's direction) that he is played absolutely straight (in keeping with the entire tone of the plot) and is even able to invoke some pity from the audience. In a very moving scene (missing from the U.S. prints) he tells his mother, with whom he leaves alone with in his vast country house, that their entire life is wholly dependent upon his immersion in the black arts and that there is no going back. Obviously totally friendless in the world, he's seemingly as afraid of his conjured demons and powers as much as his followers, along with his intended victims.
In addition, along with some of Holden's beginning airplane flight scenes (where he initially meets Cummins) and a bit of their later visit to Kreswell's estate (where Kreswell appears as a clown hosting a children's party) another sequence cut from the American print is Holden's visit to a desolate farm (featuring some wonderfully creepy sets from production designer Ken Adam) where the people live in abject 19th century like poverty. Going there to receive permission to study their son (an ex-follower of Kraswell who's now insane) it becomes apparent that they along with many others turn the majority of their wealth over to Kraswell for fear of his powers.
Adam, who in a few years would gain fame on the James Bond movies, creates some marvelous sets here including the interior of Kraswell's country estate and the long maze like hallways of Holden's hotel. In spite of a few obvious process shots at the airport and later in the British Museum the film has a rich look for a then perceived "B" picture (helped in no doubt by Tourneur's Lewton influence) with a sequence in some moon shrouded woods where Holden is chased by an unseen figure (with only smokey footprints appearing) being one of the highlights of British horror cinema - and if Tourneur's claims are to be believed, this most likely would be the extent of what we would see of the demon in question.
Dana Andrews while appearing in several notable Hollywood films such as LAURA (1944) and THE BEST YEARS OF OUR LIVES (1946) never seemed to quite make it to the upper hierarchy of leading men. He was a solid and dependable if not spectacular actor and later become president of the Screen Actors Guild where he was an advocate of actresses rights, particularly in their right of refusal to do nude scenes. Into the 50's and 60's he would continually work in both low budget horror and exploitation movies such as HOT RODS TO HELL (1967) and THE FROZEN DEAD (1966) and major films such as IN HARM'S WAY (1965). He also appeared in the airplane disaster film ZERO HOUR ! in 1957 (as "Lt Ted Stryker") which was the main inspiration for 1980's AIRPLANE ! and ironically would finish his career by crashing his plane into the jet in AIRPORT 1975.
Based upon the short story "Casting The Runes" by Edwardian ghost author M.R. James, it was released in the U.S. by Columbia as CURSE OF THE DEMON and was trimmed from the 95 min. British cut down to 81 min thereby making it more adaptable to double features, where it was often paired up with Hammer's THE REVENGE OF FRANKENSTEIN. In the pre-home video world this was bit of a holy grail for horror fans (especially the mythical "British cut") as it was infrequently shown on TV, but was always heavily promoted in Famous Monsters with that ad for the Castle 8mm version staring out from the back ads in practically every issue. In 1987 Columbia by happy accident released the British cut on laser disc (with the CURSE title card slapped on) and this was the version seen going forward until a 2002 DVD release presented both versions as two separate films.
There has always been much debate on the full-on showing of the demon and Tourneur's participation (or lack thereof) in filming the two sequences showing it. The French born Tourneur cut his teeth for RKO in the 1940's working on Val Lewton's famous series of low budget and atmospheric horror films. He directed THE CAT PEOPLE (1942) along with 1943's I WALKED WITH A ZOMBIE & THE LEOPARD MAN and always maintained that it was his intention that the demon remain largely unseen and that the sequences with it fully visible were added post production while producer Chester claimed that they were filmed by Tourneur. Originally Ray Harryhausen was contacted to model the demon figure in stop motion but when he was unavailable a puppet was used along with a close up of an articulated rubber head and claw (and in one memorable shot, a huge cloven hoofed leg). The special effects hold up remarkably well to this day, but for the climax the puppet is strangely substituted for an obvious man in in a rubber suit (and a rather pudgy one at that).
As far as his nemesis there is much to be said for the performance of British character actor Naill MacGinnis as the warlock/ cult leader Julian Karswell. With his wild tufts of hair and pointed goatee he could be easily played as manically laughing villain all the while stroking his said beard and chewing bunches of scenery, but its to MacGannis talent (along with Tourneur's direction) that he is played absolutely straight (in keeping with the entire tone of the plot) and is even able to invoke some pity from the audience. In a very moving scene (missing from the U.S. prints) he tells his mother, with whom he leaves alone with in his vast country house, that their entire life is wholly dependent upon his immersion in the black arts and that there is no going back. Obviously totally friendless in the world, he's seemingly as afraid of his conjured demons and powers as much as his followers, along with his intended victims.
Adam, who in a few years would gain fame on the James Bond movies, creates some marvelous sets here including the interior of Kraswell's country estate and the long maze like hallways of Holden's hotel. In spite of a few obvious process shots at the airport and later in the British Museum the film has a rich look for a then perceived "B" picture (helped in no doubt by Tourneur's Lewton influence) with a sequence in some moon shrouded woods where Holden is chased by an unseen figure (with only smokey footprints appearing) being one of the highlights of British horror cinema - and if Tourneur's claims are to be believed, this most likely would be the extent of what we would see of the demon in question.
I saw this for the first time about a year ago, I think on AMC, and was extremely impressed with pretty much every element of it. I had wanted to see it since I was a kid, I loved the demon, but just never ran across it. As Im sure you remember back in the day, being at the mercy of your local video store. If they didnt carry it, it was much harder to see. I had seen Bronx Warrior about 5 times by the time I was 8 years old, but didnt see the Warriors until I was in my 20s.
ReplyDeleteI remember always seeing pictures of the demon as a kid in Famous Monsters and stuff, but didn't actually see the movie until my mid 20's when it finally ran on late night TV (and you'r right Rob, even after all those years it didn't disappoint).
DeleteI agree with both of you - I think I finally saw this in the early 90's (either a TV airing or on tape) but I've since added the double feature DVD to the video vault. It is one of the rare movies that completely holds up even after years of anticipation (thanks Famous Monsters!). It's funny - I would normally agree with Tourneur that for this movie less would have been more - keep that demon mostly unseen. And if the effects had been shoddy - picture The Giant Claw emerging from that smoke and light - I think we'd all rise up and punch those responsible in the throat. But then that demon appears and the thing is really well done and terrifying - so I jump back over the fence - I'm so glad the demon is visible! Excellent post, Dick!
ReplyDeleteThat close-up of the demon head was really ingrained in my mind from Famous Monsters, but I still jumped the first time I saw the movie !
DeleteGreat post, Dick, another of my favorites here. While watching this one again last year, I was struck by how well executed some of the effects are, especially in the start with the smoke and light in the forest. This struck me as what was also intended to be in the film, and the additional close ups was what was added by the producers. Even still, the film doesn't lose much by these shots, and it is still one of the finest 'curse' films ever made.
ReplyDeleteThanks JP
DeleteYour right - the close-ups do seem added post-production, although I like the cloven foot coming down next to Prof. Harrington. There's a really in-depth book on the making of the film titled Beating The Devil. I've always wanted to read it, but it goes for big money now.
Yeah, I've been wanting to read it myself Dick, but as you say, big money... I can imagine it sheds some light on this issue, but I think it would be a fascinating read nonetheless.
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