The Devil Rides Out (1968)

Touches You

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

The film never slows down or bores, plunging from one harrowing sequence to the next.

It's a feast for the eyes. But what really makes this dramedy work is the acting.

Only kidding. The Devil Rides Out is a great barnstorming horror-melodrama, which takes a fairly boring book (still Dennis Wheatley's best though - you should read his other ones) and turns it into an exciting and deftly acted near classic. Only the special effects - as usual with Hammer - disappoint.Christopher Lee gets a chance to play the hero for a change, and is a superbly convincing Duc De Richleiu, off-handedly telling his mate Rex to take any of his cars. Lee is up against Charles Gray's splendidly affable Mocata, the head of a Satanist Cult who's about to induce two young things to sell their souls to the Devil. Gray is fantastic in the part.Patrick Mower, a familiar face on British t.v. in the 70s, is one of 'em, and Lee, having been friendly with his Dad, determines to rescue him from a fate worse than death...The story begins at a rapid pace and doesn't let up, and is full of memorable moments - Lee chins someone in the first 10 minutes for a start! The Satanic Ceremony, with The Goat of Mendes in attendance, is splendid stuff - a truly startling moment occurs when his face is caught in the headlights of a car. Had this film been made three years later the celebrants would probably all have been starkers...The central sequence, with Lee and his cohorts trying to project Mower inside a magic circle from the forces of hell is utterly brilliant. Director Terence Fisher gives it real menace. It's a shame about the silly horse ridden by the Angel Of Death, though. Reversing the film makes him look extremely comical.Great movie from Hammer. And do you recall Dennis Wheatley's warnings with his book collection adverts about not dabbling with Satanism? I still giggle over the Not The Nine O'Clock News spoof of this..."Besides, there isn't room for two of us on this patch!"

Two Englishmen kidnap the son of a mutual friend to keep him away from the clutches of a Satanic cult, which is easier said than done in this supernatural horror film from the Hammer team. The script may not be first rate (lots of rambling about good and evil, plus the optimistic ending feels very out-of-place), however, the film has many powerful moments thanks to solid special effects, a riveting music score from James Bernard and the unsettling implication that everyone is vulnerable and capable of being manipulated by evil. The film's best moments come towards the end as the Englishmen and some others are taunted by illusions of gigantic arachnids and a young girl in distress, however, the Satanic rituals in the woods are eerie too and bring to mind 'Race with a Devil' - which could have conceivably taken inspiration from what is depicted here. The film trips up a bit with the casting of Charles Gray as the lead Satanist; his piercing stares often come across as comical rather than menacing. Apparently, fellow James Bond alumnus Gert Fröbe was the first choice for the role, and that may have worked better. Sarah Lawson also makes for an uninspired casting choice and curious as it is to have Christopher Lee as a heroic protagonist for a change, playing a film's hero is not his forte. Rosalyn Landor is lovely in her precious few scenes though and Eddie Powell is downright creepy, covered in heavy goat makeup. This may not be Hammer's best film as some out there claim, but it is one of their more offbeat and interesting efforts for sure.

Reportedly the personal favourite Hammer film for star Sir Christopher Lee, "The Devil Rides Out" is a marvelous outing for the studio. Adapted by Richard Matheson from the novel by Dennis Wheatley, it stars Sir Christopher as Duc de Richleau. Richleau, also known as Nicholas, is concerned when his younger friend Simon Aron (Patrick Mower) doesn't show up for a reunion with Nicholas and their other pal, Rex Van Ryn (Leon Greene). They learn that Simon has become involved with a demonic cult, led by the coldly charismatic Mocata (Charles Gray). It's a good thing for Simon - and the comely young Tanith (Nike Arrighi) - that Nicholas is on the case, because he's extremely knowledgeable about the occult and keeps a cool head in the face of danger.It's a treat to see the legendary Sir Christopher in one of his most purely heroic roles. He speaks his lines with such sincerity and absolute authority that one can't help but be completely absorbed in his words. He's just the kind of hero you need in this kind of situation. Although he's actually dubbed by another Hammer actor, Patrick Allen, Greene is reasonably engaging as Nicholas's friend. Arrighi is a pretty lady but alas is also pretty stiff. The rest of the supporting cast *is* superb, however, with the striking Gwen Ffrangcon Davies cast as the Countess, and a delightfully sinister Gray - known for his roles in such things as "Diamonds are Forever" and "The Rocky Horror Picture Show" - provides the film with a very effective villain. His one big scene has him subtly seducing / hypnotizing Nicholas's niece Marie Eaton (Sarah Lawson). Like Sir Christopher, Gray has the ability to have you hanging on his every word.This is an intelligent, involving horror story that has some memorable scare moments. The special effects are, on occasion, rather ropey, but they never detract from the entertainment value of this tale. Terence Fishers' direction is typically meticulous, and James Bernard concocted a thunderous, insistent score that serves as dramatic punctuation on the action.One of the finest of all Hammer films.Eight out of 10.

1930s England and Rex Van Ryn departs from a plane to be met by his friend Duc De Richleau . If his name sounds strange then that's nothing compared to his personality . Within a very short space of time Richleau is harping on about the black arts and he's not talking 50 Cent and Snoop Dog . If Rex had any sense he'd go straight back to the airstrip and depart never to return again but he can't do that because he's an all too obvious plot device where Duc De Richleau needs a companion present so he can explain everything about the Occult since the audience aren't too clued up about the subject This is considered to be one of the very best horror movies Hammer produced . I know what you're thinking something along the lines of " That's not saying much Theo " but deserves to be rated on its own merits rather than winning by default against films where impossibly beautiful maidens get their cleavage out and pop round to Dracula's Castle . Having acclaimed novelist and screenwriter Richard Matheson doing the script helps greatly as does having Terence Fisher as director . Fisher was never in danger of winning an Oscar but is almost certainly the best director of the Hammer horrors The story itself is utter nonsense featuring a Satanic cult wanting to get the souls of a young man and woman and featuring a cameo of some bloke with the head of a goat but everything is done in such a serious dead pan manner that you can't help being caught up in it . As soon as someone mentions something vaguely important to the plot a crescendo of music blasts over the soundtrack and nothing unimportant happens , not for a second . As soon as anyone has the temerity to say " You can't believe that " a reply of " I've never been more serious in all my life " then the band plays up again . In fact no one ever has been as serious as Richleau and one wonders if Rex isn't to blame . After all if he hadn't wandered in to the film Richleau wouldn't have had anyone to talk to and the band wouldn't have got paid I often thought the only time Christopher Lee was impressive was when he was in LORD OF THE RINGS but he does carry the film to a large extent as the charismatic good guy and if we had Peter Cushing as Richleau we'd have a different and rather inferior film . I'm not implying that THE DEVIL RIDES OUT is some forgotten masterpiece ready for reevaluation but as pulp horror produced as mass entertainment it is very enjoyable and engaging