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Horror in Black and White: ‘Eye of the Devil’ (1966)

Published

5 years ago

December 20, 2018

Eye of the Devil, written by Robin Estridge and Dennis Murphy and directed by J. Lee Thompson (Cape Fear [1962]), was one of those films that seemed troubled from the start.

Based on a novel written by Estridge under the pen name “Philip Loraine”, the film tells the story of Phillipe de Montfaucon (David Niven), a marquis and vintner, who must return to his family’s estates in Bellenac when their vineyards have failed for the third year in a row.

He leaves his wife Catherine (Deborah Kerr) in Paris with their children, Jacques and Antoinette, with instructions that they are not to come to Bellenac for any reason. However, after he has been gone for a few days, young Jacques begins to exhibit strange behavior and Catherine decides they must be with Phillipe.

Little does she know that the denizens of Bellenac follow very old traditions, and that one of those beliefs entails the willing sacrifice of the Marquis in order to save the dying fields.

The film had an amazing cast alongside Kerr and Niven.

Donald Pleasance (Halloween) appears as Pere Dominic the local priest who may or may not be involved in the pagan rituals. Pleasance is at his subtle and most understated best in the role, and his performance is more than worth the price of admission!

The oh-so-handsome David Hemmings (Deep Red) and the bewitching Sharon Tate (The Fearless Vampire Killers) draw focus in almost every scene they appear in as siblings Christian and Odile de Caray.

It was Tate’s feature film debut. Sadly, she would be brutally murdered only three years later at the age of 26 by members of Charles Manson’s cult.

David Hemmings and Sharon Tate as Christian and Odile de Caray in Eye of the Devil

Eyes of the Devil is genuinely spooky with an excellent score by Gary McFarland and it makes beautiful use of black and white photography at a time when monochromatic films were beginning to be the exception rather than the norm.

There is a particularly beautiful scene where Kerr finds herself in the forest near an old family mausoleum. As she decides to go back home a hooded figure in dark robes steps from the shadows of a tree. That figure is joined by another and another and another, the dark black of the robes standing out against the grays around them as they circle her and begin to close in.

The scene was terrifying and all the more so because of those gray and black contrasts.

As I mentioned earlier, however, the film seemed plagued by issues from the very beginning.

Michael Anderson, who would later direct Logan’s Run, was originally tapped to direct the film but due to scheduling constraints and rumored disagreements with the studio, he was replaced with Thompson. Thompson completed the film, but Sidney J. Furie and Arthur Hiller were both brought on to film additional scenes for the final production.

Kim Novak (Bell, Book, and Candle) who was originally cast in the role of Catherine had to leave the production after a few weeks of shooting supposedly because of an injury she sustained when she fell from a horse.

Hemmings would later write in his autobiography, however, that she was fired from the production after she argued with one of the producers when he discovered that she and the younger actor were having an affair.

Deborah Kerr took over the role of Catherine de Montfaucon after Kim Novak had to leave the production.

Whatever the reason, Novak was gone, and while Kerr was brought on quickly to take over the role, all of the previously filmed scenes with Novak had to be thrown out and re-shot.

After its completion, it seemed that MGM was uncertain how to market it, or perhaps they were afraid of how audiences might react to the film’s themes of witchcraft, human sacrifice, and pagan rituals.

The film was completed in early 1966, but it was late 1967 before it saw a release in the U.S. and it was not until the spring of 1968 that it finally made its way onto screens in the UK.

Unfortunately for the studios, the film’s initial release was not a great success, though it did enjoy more popularity in Europe. However, after Tate’s death, demand to see the film grew and it soon found its fan base in the States, as well.

Interestingly enough, after viewing, you can see the film’s influence on other films that followed it.

The Wicker Man, which was released almost seven years after Eye of the Devil was completed, immediately springs to mind after one particular scene involving a strange parade through Bellenac with dancers and oddly costumed citizens.

Eye of the Devil still holds up as a classic chiller with only one really problematic scene by contemporary standards. When it is discovered that Odile has tried to murder Catherine, Phillipe whips her with a horsewhip and she writhes with seemingly simultaneous pain and pleasure at her punishment.

While it is very effective, modern audiences, outside of the 50 Shades community, may find the scene difficult to watch.

Still, overall, this is a film that bears watching. Its rich landscapes, shot on location in France, along with phenomenal performances by its leading and supporting cast make it a film you won’t soon forget.

Eye of the Devil is available for rent on both Amazon and Vudu for only $2.99.

Join us next week for another installment of Horror in Black and White. If you missed last week’s coverage of The Old Dark House, click here to check it out!

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Russell Crowe To Star in Another Exorcism Movie & It’s Not a Sequel

Published

18 hours ago

April 22, 2024

Timothy Rawles

Maybe it’s because The Exorcist just celebrated its 50th-anniversary last year, or maybe it’s because aging Academy Award-winning actors aren’t too proud to take on obscure roles, but Russell Crowe is visiting the Devil once again in yet another possession film. And it’s not related to his last one, The Pope’s Exorcist.

According to Collider, the film titled The Exorcism was originally going to be released under the name The Georgetown Project. Rights for its North American release were once in the hands of Miramax but then went to Vertical Entertainment. It will release on June 7 in theaters then head over to Shudder for subscribers.

Crowe will also star in this year’s upcoming Kraven the Hunter which is set to drop in theaters on August 30.

As for The Exorcism, Collider provides us with what it’s about:

“The film centers around actor Anthony Miller (Crowe), whose troubles come to the forefront as he shoots a supernatural horror movie. His estranged daughter (Ryan Simpkins) has to figure out whether he’s lapsing into his past addictions, or if something even more horrific is occurring. “

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Movies

New F-Bomb Laden ‘Deadpool & Wolverine’ Trailer: Bloody Buddy Movie

Published

21 hours ago

April 22, 2024

Timothy Rawles

Deadpool & Wolverine might be the buddy movie of the decade. The two heterodox superheroes are back in the latest trailer for the summer blockbuster, this time with more f-bombs than a gangster film.

‘Deadpool & Wolverine’ Movie Trailer

This time the focus is on Wolverine played by Hugh Jackman. The adamantium-infused X-Man is having a bit of a pity party when Deadpool (Ryan Reynolds) arrives on the scene who then tries to convince him to team up for selfish reasons. The result is a profanity-filled trailer with a Strange surprise at the end.

Deadpool & Wolverine is one of the most anticipated movies of the year. It comes out on July 26. Here is the latest trailer, and we suggest if you are at work and your space isn’t private, you might want to put in headphones.

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News

Original Blair Witch Cast Ask Lionsgate for Retroactive Residuals in Light of New Film

Published

2 days ago

April 21, 2024

Cameron McFarland

Jason Blum is planning to reboot The Blair Witch Project for the second time. That’s a fairly large task considering none of the reboots or sequels have managed to capture the magic of the 1999 film that brought found footage into the mainstream.

This idea has not been lost on the original Blair Witch cast, who has recently reached out to Lionsgate to ask for what they feel is fair compensation for their role in the pivotal film. Lionsgate gained access to The Blair Witch Project in 2003 when they purchased Artisan Entertainment.

However, Artisan Entertainment was an independent studio before its purchase, meaning the actors were not part of SAG-AFTRA. As a result, the cast are not entitled to the same residuals from the project as actors in other major films. The cast doesn’t feel that the studio should be able to continue to profit off of their hard work and likenesses without fair compensation.

Their most recent request asks for “meaningful consultation on any future ‘Blair Witch’ reboot, sequel, prequel, toy, game, ride, escape room, etc., in which one could reasonably assume that Heather, Michael & Josh’s names and/or likenesses will be associated for promotional purposes in the public sphere.”

At this time, Lionsgate has not offered any comment about this issue.

The full statement made by the cast can be found below.

OUR ASKS OF LIONSGATE (From Heather, Michael & Josh, stars of “The Blair Witch Project”):

1. Retroactive + future residual payments to Heather, Michael and Josh for acting services rendered in the original BWP, equivalent to the sum that would’ve been allotted through SAG-AFTRA, had we had proper union or legal representation when the film was made.

2. Meaningful consultation on any future Blair Witch reboot, sequel, prequel, toy, game, ride, escape room, etc…, in which one could reasonably assume that Heather, Michael & Josh’s names and/or likenesses will be associated for promotional purposes in the public sphere.

Note: Our film has now been rebooted twice, both times were a disappointment from a fan/box office/critical perspective. Neither of these films were made with significant creative input from the original team. As the insiders who created the Blair Witch and have been listening to what fans love & want for 25 years, we’re your single greatest, yet thus-far un-utilized secret-weapon!

3. “The Blair Witch Grant”: A 60k grant (the budget of our original movie), paid out yearly by Lionsgate, to an unknown/aspiring genre filmmaker to assist in making theirfirst feature film. This is a GRANT, not a development fund, hence Lionsgate will not own any of the underlying rights to the project.

A PUBLIC STATEMENT FROM THE DIRECTORS & PRODUCERS OF “THE BLAIR WITCH PROJECT”:

As we near the 25th anniversary of The Blair Witch Project, our pride in the storyworld we created and the film we produced is reaffirmed by the recent announcement of a reboot by horror icons Jason Blum and James Wan.

While we, the original filmmakers, respect Lionsgate’s right to monetize the intellectual property as it sees fit, we must highlight the significant contributions of the original cast — Heather Donahue, Joshua Leonard, and Mike Williams. As the literal faces of what has become a franchise, their likenesses, voices, and real names are inseparably tied to The Blair Witch Project. Their unique contributions not only defined the film’s authenticity but continue to resonate with audiences around the world.

We celebrate our film’s legacy, and equally, we believe the actors deserve to be celebrated for their enduring association with the franchise.

Sincerely, Eduardo Sanchez, Dan Myrick, Gregg Hale, Robin Cowie, and Michael Monello