Devils of Darkness (1970)

This is a tender, generous movie that likes its characters and presents them as real people, full of flaws and strengths.

This story has more twists and turns than a second-rate soap opera.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

While it doesn't offer any answers, it both thrills and makes you think.

"Devils of Darkness" is a semi-decent Gothic entry that has a couple flaws to it.**SPOILERS**Going out rock-climbing, Paul Baxter, (William Sylvester) and Madeline, (Diana Decker) find that the trip is about to be canceled by a neighboring gypsy ceremony. When an accidental death nearly puts an end to the ceremony, she becomes fearful of a curse from the gypsies, which is soon confirmed by a series of strange events happening around them. Getting evidence that a secret cult rather than the gypsies are involved with trying to prevent him from finding the truth, he goes out to investigate and sees that Count Sinistre, (Hubert Noel) is the head of the cult and is responsible for the actions going on. Learning of their intentions with her, he races to stop them from going through with their plans.The Good News: This here wasn't that bad. It's best elements from the it's Gothic undertones. This one, when it tries to, is really Gothic at times, most notably in the opening assaults on the gypsies. The sight of the bat forcing the coffin open, which slowly opens to reveal a hand emerging from the darkness in a long, drawn-out style as oblivious gypsies party away at a camp nearby. The later attack, where the bat attacks the fleeing members in a heavily wooded area is a marvelous Gothic sequence. The catacomb hideout is fantastic, with long, dark hallways, plenty of twists and turns and the fact that it needs candle-lights to illuminate them allows for some creepy atmosphere. The scenes of the cult at the end are it's best, since there's plenty of cheesy fun to be had from these scenes. The chants, the sacrificial ceremony and the rituals that come into play are purely fun and really entertaining, and there's even some rather fun moments to be had throughout, including the preparations for the ceremony and the fight to get free, which ends on it's lone moment of violence but remains effective nonetheless. These points offer up the film's good points.The Bad News: There isn't a whole lot wrong with it. The film's main factor against it is that it's just deadly boring. It starts off great with the awakening in the coffin followed by the gypsy attack, but all that occurs from there until the end is absolutely nothing of interest. The film decides to have absolutely everything talked out, and that leads to a never-ending series of scenes where he converses with absolutely everybody about what's going on, and it leads to deadly boredom for most of these scenes. These are mostly taken out of the unending scenes of conversing with the police. It's obvious these are merely time-wasters in the plot sense, being merely answers to keep the protagonist away from the truth. That also severely limits the action as well, making it seem even duller by comparison. The fact that this one also features a vampire that rarely gets to do any sort of vampiric activities is another marginal factor. The vampire comes out here and there but on the whole doesn't do a whole lot to justify the inclusion, as the powers demonstrated seem more suited to a black magic follower over a vampire. These, though, are what really keep the film down.The Final Verdict: A somewhat decent Gothic entry, there's enough in this one to make it watchable but it's still flawed. Give this one a shot if you're into this kind of film or if there's something about that appeals to you, otherwise then just skip this one altogether.Today's Rating-PG: Violence

Much better than often reported, this beautifully photographed British horror is a well upholstered turn down the familiar vampire path, enlivened by some delicious tongue in cheek. Directed by cult director Lance Comfort, (see Brian MacFarlane's monograph on his career) the film opens with a dazzling dance sequence set amidst a mid forest gypsy encampment, interrupted by the first burst of horror--accompanied by a swooping bat and a gust of wind.These forest sequences are visually arresting, and include an eerie torch light parade photographed in reflection from a lake's surface.As for the story, it concerns a modern day male vampire, (equipped with Louis Jourdan accent and beautifully cut suits) who turns out to be reincarnated from the ancient past.Despite some dull detective sequences, (of the type that slow down Bava's "Blood and Black Lace") the picture manages an effective array of diverse settings including forest sequences, a country manor house, a catacomb lair, a jammed to the rafters antique shoppe, an artists' atelier, the reading room of the British Museum and a groovy bachelorette pad that is host to one of the screen's all time campiest cocktail parties.Indeed, this sequence, replete with the Watusi, and Frug, and featuring an array of cigarette puffing (with holders!) extras that seem to have been recruited between takes from the sets of "Darling" and "A Taste of Honey", (one keeps looking for Julie Christie to appear) is guaranteed to elicit howls. And if that doesn't catch you, please note that Diana Decker's wardrobe had the female audience cooing at a recent screening.Moreover, the climax, featuring a cave in which destroys the vampire clan, is well staged and shot.Picture seems influenced by Don Sharp's superb "Kiss of the Vampire," and while it doesn't hold a candle to that stellar feather in Hammer's cap, it does emerge as an interesting and zesty contemporary take on the same theme.

Writer Paul Baxter (likable William Sylvestor) and his newfound model girlfriend Karin (ravishing redhead beauty Tracy Reed) meet elegant French aristocrat Arman du Moliere (a supremely suave and sinister portrayal by Hubert Noel) while vacationing in rural Brittany. Moliere turns out to be a vampire who abducts Karin so she can be a human sacrifice for the Satanic cult that he's the leader of. Director Lance Comfort, working from a nifty and inspired script by Lyn Fairhurst, relates the compelling story at a steady pace, ably creates a creepy atmosphere, and offers a strong evocation of the remote rustic region. The solid acting from a sturdy cast rates as another substantial plus: Sylvestor and Noel are fine in the leads, with good support from Carole Gray as lusty gypsy Tania, Diana Decker as perky socialite Madeleine Braun, Peter Illing as the huffy, yet laid-back Inspector Illing, and Victor Brooks as the helpful, hard-nosed Inspector Hardwick. Reginald H. Wyer's vibrant cinematography, Bernie Fenton's spooky'n'shuddery score, and the rousing conclusion all further enhance the entertainment value of this enjoyable 60's fright feature.

I enjoyed the movie immensely. I had wanted to see it since I was a kid having read about it in SHRIEK! a short lived British horror movie mag.so, 35 years later I finally get to see it and I was not disappointed. It's not a great film, but it certainly shines above many of the horror films that were churned out during the same era (a la Blood of the Vampire 1958). The atmosphere and mood of the film is just right. The only truly annoying thing about the film to me was the beatnik-style music.Yes, it is a Hammer knockoff, but it was one of the better ones. (Even the later Hammer films were "Hammer knockoffs.")I say give it a chance! If you don't you will not know what you are missing.