Review of The Devil Rides Out (1968) by Rosco B — 11 Apr 2013

"I tell you, he's a devil worshipper!".

Hammer dynamite, based on the dreadful novel by Dennis Wheatley but souped up by the great Richard Matheson - fresh from Corman's Poe cycle and 'The Twilight Zone'. Studio ledge Terence Davies ('Dracula' and 'Curse of The Werewolf') takes the helm.

Southern England, the late 1920's. The Duc De Richelieu and his young pal Rex discover the existence of a satanic cult, and must race to save their mutual friend Simon who has become embroiled in their diabolism - due mainly to their macabre, bewitching leader. All this before the Sabbath and the cult invocation of "The Goat of Mendes... the devil himself!".

Stirring stuff, with more than a whiff of Crowley. In a curious and effective curveball, Christopher Lee plays Richeleau; the hero of the piece, leaving baddie duties in the more than capable clutches of Shakespearean thesp and future Bond-botherer Charles Gray. Gray's Mocata, with his erudite charm, creamy, hypnotising voice and full-beam stare of evil makes for great villainy. Sample threat: "I won't be back... but SOMETHING will." Eek.

Matheson crams the film with great occult detail (the symbolism and rituals are vivid and convincing) and the middle-England period setting (between the wars) is also well brought to life through the costumes and vehicles. Fisher directs with a steady hand, and the film is reminiscent of an earlier British horror, 'Night of the Demon'(1957) particularly in the setting and the similarity between the Charles Grey/Niall MacGinnis cultist villains. 'Demon' is classy stuff, only really flawed is the appearance of the 'monster', much against director Jacques Tourneur's will.

Likewise, the only almighty snag with 'The Devil Rides Out' are some unfortunately unfinished special effects that in their way lend a comical charm to proceedings when viewed now. The horror piece de resistance should be in the final third, as the group of goodies seal themselves into a magical circle to protect themselves from Mocata's apparitions; and it is well set up in a creepy, empty room. I'm a weedy arachnophobe, but the 'giant spider' (it's a white slug in the novel, so at least the change was a good idea) that appears: badly superimposed and poking against the side of a clearly visible glass partition, had me in stitches. Further into the set-piece, 'Death' himself turns up on horseback - with messily looped back-and-forth footage and sounds - before pulling his mask off to reveal a cheap-o plastic skull against a beaming blue background.

Mustn't grumble though. 'The Devil Rides Out' ranks with Fisher's (which also means Hammer's) best. Look out for Patrick Mower as the cult initiate Simon as well as Paul Eddington from 'Yes Minister' and 'The Good Life' in a supporting role.