The Devil Rides Out (1968) – Movie Review
Synopsis:
"The Devil Rides Out," directed by the prolific Terence Fisher and released by Hammer Films in 1968, is a chilling foray into the realms of the occult and the supernatural. The film is based on Dennis Wheatley’s 1934 novel of the same name, a work that delves into the dark arts and the battle between good and evil. Set in the 1930s, the story follows the enigmatic and charismatic Duc de Richleau (played by Christopher Lee), an aristocrat with a keen interest in the occult.
The film opens with de Richleau and his companion, Rex Van Ryn (played by Leon Green), arriving at a country estate in England to visit their friend, Simon Aron (played by Patrick Mower). To their horror, they discover that Simon has become involved with a satanic cult led by the sinister Mocata (played by Charles Gray). The cult is intent on using Simon as a sacrificial pawn in their dark ritual.
Driven by a sense of responsibility and loyalty to his friend, de Richleau plunges headfirst into a dangerous battle against Mocata and his nefarious followers to save Simon and confront the very embodiment of evil. Puzzles and traps ensue as de Richleau must outwit and face the cult’s magical prowess. Together with Rex and the resourceful girl-next-door, Marie (played by Niké Arrighi), they find themselves locked in a gripping battle of wits and wills, grappling with dark magic and the insidious intrigues of Mocata.
The film’s heart races with tension as de Richleau employs his wit and knowledge of the occult to thwart the devilish plans of the cult, leading to a series of climactic confrontations filled with supernatural peril, rich visual aesthetics, and a palpable sense of dread that is decidedly British.
List of Actors and Their Characters:
- Christopher Lee as Duc de Richleau
- Charles Gray as Mocata
- Niké Arrighi as Marie
- Patrick Mower as Simon Aron
- Leon Greene as Rex Van Ryn
- Aubrey Morris as the Cultist
- Paul Eddington as a Sacrifice (uncredited)
Review:
"The Devil Rides Out" is often heralded as one of Hammer Films’ most successful ventures into the horror genre. The film distinctly marks a seminal point in the studio’s creative exploration of horror, shifting from classic Gothic “monster” narratives to bold tales rooted in psychological and sensational horror. At the helm of this narrative is Terence Fisher, whose deft touch breathes life into Wheatley’s story, combining elevated dialogue with primal fears that echo through the ages.
From the onset, Christopher Lee’s portrayal of Duc de Richleau is nothing short of exceptional—his presence commands the screen with an authoritative gravitas that anchors the film’s narrative. Lee, often typecast in villainous roles, showcases his remarkable range, moving between intellect and emotion. He manages to embody both the cultured aristocrat and the fierce protector of his friends with skill.
In juxtaposition, Charles Gray’s performance as Mocata is elegantly sinister. Gray presents a charming yet detestable villain, one who embodies the allure of dark magic while ruthlessly pursuing his ambitions with unwavering dedication. His use of psychological manipulation and charm adds a gripping layer to the tension between good and evil—an eternal theme woven deeply into the fabric of the film.
The supporting cast holds its own, with Niké Arrighi’s portrayal of Marie delivering much-needed emotional grounding amidst the chaos. Her character, though not without flaws, exhibits a bravery and resilience that makes her a strong addition to the trio’s quest against Mocata. Patrick Mower stands out too, delivering a poignant performance as Simon, the unwitting pawn, adeptly capturing the layers of tragedy associated with his character’s entanglement in malevolent forces.
The film’s pacing is admirably brisk, interspersing exposition with moments of genuine fright and unforgettable imagery. Fisher’s command over the visual dynamics is apparent, employing atmospheric cinematography and masterful lighting techniques to distil the sense of dread that permeates the film. The clever use of practical effects—often a hallmark of Hammer’s producing prowess—enhances the film’s eerie tone, allowing viewers to be credibly immersed in the bizarre and supernatural elements integral to the plot.
The film does not shy away from pushing boundaries for its time, addressing themes such as the allure of forbidden knowledge and the consequences of dabbling in the occult. It explores the conflict between rationality and superstition, set against a backdrop of an engaging narrative that is both timeless and reflective of societal anxieties around evil.
Thescore of the film, composed by the underrated James Bernard, serves to elevate the film’s atmosphere even further. The haunting score pulsates alongside the unfolding drama, accentuating the film’s thrills and chills at every turn. Bernard expertly crafts the unnerving soundscape that helps underlie the tension and suspense, ensuring that viewers are not just watching a story unfold— they become enveloped in it.
One must also acknowledge the film’s Fight Choreography and Special Effects—the latter shaped by the limitations of its era, which nonetheless stand out for their creativity. Notably, scenes such as the climactic confrontation meld the physical with the metaphysical, challenging the viewer’s perception of reality while delivering the terrifying spectacle one traditionally anticipates from a horror film.
Yet, despite its many accolades, "The Devil Rides Out" is not without its criticisms. At times, the film’s reliance on exposition-rich dialogue to convey the occult themes may feel cumbersome, dragging the overall pace. However, the impressive performances, combined with rich visual storytelling, ultimately outweigh these shortcomings.
In conclusion, "The Devil Rides Out" remains an exemplary work within the Hammer horror canon, propelling itself beyond mere genre tropes. It is a masterclass in blending storytelling with the supernatural that continues to resonate through the decades. With strong performances by Christopher Lee and Charles Gray, combined with Fisher’s skilled direction, the film offers a unique meditation on the nature of evil and the dark allure of magic.
This film has moments of sheer brilliance and remains a poignant reminder of cinema’s ability to tap into our primal fears. It is a significant entry into the horror genre—one that commands not just attention but respect.
Score: 8.5/10.
