Die Braut des Satans

An American occult novelist (Richard Widmark) battles to save the soul of a young nun (Nastassja Kinski) from a group of Satanists, led by an excommunicated priest (Christopher Lee), who plan on using her as the representative of the Devil on Earth.

As a White Zombie fan, I was thrilled to hear the Latin of the excommunication scene and finally know where one of their best songs took its clips from. That alone makes the movie satisfying (though it hardly carries the entire film).

Despite being a Hammer film and featuring Christopher Lee, the film does not seem well-liked by many people. IMDb rates it below a 6 and Rotten Tomatoes has it holding a 17% approval rating. I feel obligated to defend it, if even just a little bit. I mean, wow, what a truly creepy and disturbing birthing ritual -- the blood, the bondage, Lee's diabolical grin... Oh, and that other ritual...

I would say this film is a winner, despite the harsh criticism people seem to have for it. Some parts are a bit slow or bland, but the overall story is interesting and the imagery is fascinating. A lot of work was put into this one.

"To The Devil A Daughter" of 1976 is on of the last films from the great Hammer studios, and, as it seems, it was a disappointment to many of my fellow Hammer fans. For understandable reasons, since this is the second of two Hammer films about Satanism and black magic based on novels by Dennis Wheatley. Both films star Christopher Lee and the first, namely "The Devil Rides Out" of 1968 is easily one of the most brilliant films ever released by this great Production Company. And "To The Devil A Daughter" can not nearly compete with "The Devil Rides Out", but, as far as I am considered it is still a creepy film that is more than worth watching for a Horror fan.

The performances are exceptional, and I am not only talking about the great Christopher Lee. Lee is brilliant as always, of course, but the cast includes quite a bunch of other great actors. Richard Widmark also delivers a great performance and so do Denholm Eliott, Michael Goodliffe and the great Honor Blackman. Young Nastassia Kinski is also exceptional in one of her very first roles. The cinematography is great, and the film is often very eerie, but it sadly lacks the wonderful Gothic atmosphere that Hammer fans love so much. The film has atmosphere, no doubt, but sadly not the typical Hammer-style. This may be the main reason why many fellow Hammer fans are disappointed with the film. And it was also the lack of Gothic elements that I disliked about the film. But even though it is definitely one of the lesser films from Hammer and it may disappoint on a certain level, the film is definitely a creepy flick that fans of the studios should not miss. If you expect a shining finale to 20 years of brilliant Hammer rule, you run risk of being disappointed. Just expect a creepy little film with a great cast and enjoy!

Occult novelist John Verney (veteran American star Richard Widmark) has his hands full. He has to keep safe the daughter (Nastassja Kinski) of an associate (Denholm Elliott). You see, eighteen years ago Elliott made an unholy pact, and now the girl is intended for use in something depraved by heretic priest Father Michael Raynor (Sir Christopher Lee).

At the time, this was the final theatrical horror film for Britains' renowned Hammer Studios. It was actually pretty successful, but the studio was simply too much in debt to completely reap the benefits. Based on the novel by Dennis Wheatley, it's a commendably low-key, restrained film, with occasional moments of violence / gore as well as cheesiness. As directed by Peter Sykes, the film has the potential to bore some members of the audience, but it's generally got enough interesting material in it to make it palatable.

The cast provides the principal value. Widmark at first seems really out of place, but he does a solid job. Lee delivers what is one of his all-time best villainous performances for Hammer. The supporting cast is pretty eclectic: Honor Blackman, Michael Goodliffe, Eva Maria Meineke, Anthony Valentine, Derek Francis, Frances de la Tour, etc. However, many eyes will be on Kinski, in one of her earliest roles; she does convey an essential naivety and innocence, and the audience will automatically be on her side. Those who are interested should note that she has a controversial few seconds' worth of full frontal nudity near the end.

Although not on the level of another Wheatley shocker ("The Devil Rides Out") produced by Hammer, this does show its viewers a fairly good time, operating with its approach of subtlety. One problem, however, is the ending, which is over too quickly, and robs us of real satisfaction.

All things considered, Hammer could easily have signed off with a much worse horror film. This, at least, is generally compelling.

Seven out of 10.

Underrated thriller that despite being slow and meandering still manages a few nice shocks and is never less than interesting. This attempted to match The Exorcist for near-the-knuckle images and themes, and although it lacks that film's lasting power to haunt it does have a strong line in perversity that may surprise the most jaded unshockable viewer. Christopher Lee is great as the smiling, gentlemanly paganist - Natassja Kinski looks great and goes through the film like a day-dreaming naive child, which is exactly what she is supposed to be. Admittedly the creature at the end could easily have climbed out of a cornflakes packet as the depths of hell, but it doesn't ruin the film. Channel 4 recently showed a wide-screen version. It was well worth taping.

The reputation of Hammer’s last horror film has always been fairly maligned (for a variety of reasons) but, when I finally watched it – via a pan-and-scan PAL VHS – some years back, I recall being reasonably impressed by it. Somewhat perversely, I chose it to end my month-long tribute to the recently deceased Richard Widmark – given that he was notoriously cantankerous throughout the film’s shooting and would subsequently single it out as the one regret of his 44 year-long film career!

Re-acquainting myself with TO THE DEVIL A DAUGHTER by way of the Anchor Bay R1 DVD, I was pleased to discover that my initial reaction to it remained pretty much intact – though, obviously, I no longer felt that initial shock to some of its more intense and bizarre sequences. Anyway, the film was a companion piece to Hammer’s previous Dennis Wheatley adaptation – THE DEVIL RIDES OUT (1967) – in which Christopher Lee had atypically played the hero; however, the author wasn’t as enthused this time around – since his novel was considerably bowdlerized in the transition – and declined the company further access to his works (they had previously acquired the rights to yet another of Wheatley’s occult tales, “The Satanist”)! Lee co-stars in this one as well – but, here, he reverts to his favored (on-screen) element i.e. The Dark Side: his character of Father Michael is actually among the most believably sinister he ever played (going about his diabolic business with a thoroughly calm demeanor and, often, a chilling smile on his lips!). As for Widmark, I’m glad he was sensible enough to understand that, whatever his personal feelings (the Hollywood star clearly seemed to consider the material beneath him), he still owed the public a good performance – and there’s no denying the fact that his no-nonsense occult novelist emerges as a most fitting opponent to Lee.

The convoluted plot involves the rebirth of the demon Astaroth in human form – its vessel being a nubile girl (played by the luscious Nastassja Kinski), brought up in seclusion as a nun! Lee is a priest who has been excommunicated for challenging the belief that Man depends on the ‘presence’ of God to guide him through life – contending that Man is perfectly capable of making his own Destiny (with a little help from the Forces of Darkness). Aiding him in his scheme is veteran Michael Goodliffe, the wonderful Denholm Elliott is featured as Kinski’s recanting wimpish father, and Derek Francis as the Church official who has barred Lee from service. In Widmark’s corner are his husband-and-wife agents, played by Honor Blackman and Anthony Valentine – both of whom eventually find themselves on the receiving end of Lee’s evil powers.

Among the film’s notable sequences: the unnatural birth of the demon child (displaying a harrowing intensity quite uncommon to Hammer’s usual output), the two scenes depicting the monstrous appearance of the baby itself (one in which it slobbers all over 17-year old Kinski’s bloodied naked body Lee slams as “obscene” in the accompanying documentary!), the would-be depraved rite/orgy (presented as a nightmare in the vein of the not-too-dissimilar ROSEMARY’S BABY [1968]) and, of course, the much-debated climax (nowhere near as godawful as many seem to think, the scriptwriters having at least put an extra effort into coming up with a mystical explanation for the denouement, but the rushed execution of it is decidedly limp!). In essence, then, this is not at all a bad send-off for Hammer Films – and, easily, among their better offerings of the decade (incidentally, I’ve just acquired the obscure Sci-Fi/Western hybrid MOON ZERO TWO [1969] from this legendary brand, which promises to be fairly goofy)…

To get to Anchor Bay’s DVD edition, the one quibble I have with it concerns the ‘processed’ quality of the sound effects (background noise, gunshots) in a couple of sequences. Whilst serving as a moving valediction to a bygone era, the 24-minute featurette is a great account of the nerve-racking making of the film (with its last-minute revisions to the script, problems securing a director, and Widmark’s temper-tantrums). Apart from over-hyped trailer, extensive poster/still gallery and detailed biographies for both Widmark and Lee, one is able to access a hilarious Easter Egg from the “Extras” menu – an excerpt from an interview with leading Hammer Films stunt-man Eddie Powell, wherein he discusses his multi-purpose duties on this particular title (which included doubling for Lee in a scene requiring his character to appear in the nude!).