FILM REVIEW: ‘The Devil Rides Out’

Dir: Terrence Fisher

England, 1968

The beauty of woman-the demon of darkness-the unholy union of “The Devil’s Bride”!

Also known under the moniker The Devil’s Bride for its US release, The Devil Rides Out has been fairly described as simultaneously being Hammer Horror’s most “Hammer” productions as well as a unique standout in their catalog. Dripping with lush gothic atmosphere and vivid technicolor, ‘Devil’ shares many aesthetics with the likes of the studio’s takes on Dracula, Frankenstein, and the Mummy, albeit in a more modern breath. I watched it on Scream Factory’s blu-ray release, presenting the unholy web of tension in lush detail.

The Devil Rides Out is largely remembered for its few unforgettable and cosmically unsettling set pieces. Apparitions of evil spirits (maybe?) with disturbing eyes, giant spiders, and Satan himself all make an appearance. I was honestly impressed by how effective these visuals remain over 50 years later. Some are obviously effects, but that does not hinder their goal of scaring. Our final encounter with the Angel of Death was remarkable. Entering the narrative in a dizzying frenzy of cuts and camera movements, he is an otherworldly beast and a disorienting encounter. Beyond these memorable visuals though, Devil is a character-driven story. A human tale of care, compassion, and terror.

Christopher Lee’s performance as the Duke de Richleau is utterly gripping. He (per usual) commands the viewer’s attention with his larger than life intensity that no one can recreate. In a fun twist, he is our hero in this particular story, contrasting his notoriety for being typecast as a villain. There is an undeniable feeling of safety when Lee is present on screen (calling for a few moments where the plot contrives his absence for a bit). What is most impressive (character-wise), is the fact that Lee’s Duke is our protagonist, but not necessarily the main character. Tanith and Simon, on the run and fighting to escape spiritual control from the evil Mocata, both receive as much focus on their emotional battles of good and evil, as do Rex, Simon, and Marie. It’s a small cast overall, (spare the large number of Satanic cult members), which allows chances for most to take the lead and drive the plot further.

In contrast to Duke de Richleua is Charles Gray’s Mocata. Gray, best known as Bond foe Ernst Blofeld or the Criminologist in Rocky Horror, is tailor made for the role of the mind-controlling, black magic wielding Satanic cult leader. He is known primarily for his time spent playing villains, and I truly cannot imagine someone else being able to not only be able to stand up against Lee’s presence as an actor, but at times nearly overpower him. Mocata takes up little in the way of screen time, but when he does, these are certainly the film’s standout sequences. He is terrifying not in a grotesque way, but rather in a captivating and alluring manner. The real threat posed comes from his confidence, charm, and domination.

A masterclass in tension, The Devil Rides Out wastes no time getting the story in motion and remains relentlessly uneasy until the credits roll. There is a palpable sense of impending doom that never fully lets up. And while I did earlier mention the frenzy of spooky visuals, Devil is a slow burn that delivers nail-biting drama rather than simply cheap thrills.