Hexen geschändet und zu Tode gequält

I scored the original Mark of the Devil 10/10, I consider it to be a superb movie. Part 2 is pretty much a retread, although nowhere near as good I still thought it decent. Anton Diffring, a fantastic German actor is the chief baddie this time, with Reginald Nalder reprising his role as the callous, evil head witchfinder. I didn't realise but a few years later he played one of my favourite vampires, Barlow, in Salem's Lot. A man with a very unique face! Buxom redhead Erica Blanc plays the lead female. The plot is OK, the German scenery beautiful and the execution and torture scenes are plentiful. Further proof that the torture porn sub-genre was alive and well decades before the likes of Hostel and Saw.

It was the original Mark of the Devil that was notorious for "barf bags" being given to theater patrons at the time. I think Part 2 stood a better chance of such bags actually being used. In fact, Part 2 contains what must have been the first vomit scene in a movie. Remember, this came before the Exorcist. Part 2 notably graphic and brutal,for its day.

Although a blatant rip-off of "Witchfinder General", the original "Mark of the Devil" is easily one of the greatest European exploitation movies ever made. The sequel, however, is one of the worst. I can't even properly explain what went wrong, since all the ingredients for a fierce and shocking exploitation hit are there, but somehow "Mark of the Devil 2" became the lamest and dullest flick about torture & witch-hunting that exists. There are some great names in the cast, but either they stay far below their usual qualities (like Anton Diffring) or they are badly restricted by their shallow and uninteresting roles (like Erica Blanc). The original was a masterpiece of cruelty. You could almost feel the agony and experience the living hell those poor women were going through yourself. Here, there's just a lot of screaming and only a handful of nasty images. These witch-hunters, Balthazar Von Ross and his misogynist minion Natas, don't even bother to put effort into their accusations. They just point out random women and torture them to death. There isn't the slightest bit of unsettling atmosphere, building up suspense or effective use of the torture scenery. All the sequences involving the bald nuns are downright odd, and the only two noteworthy moments of torturous cruelty involve a pair of fiery shoes and a nasty crotch-impalement. In fact, the only truly great thing about this dud is its original German title "Hexen geschändet und zu Tode gequält". What genuine exploitation-lover wouldn't want to see a film with a title like that?

Hexen geschändet und zu Tode gequält is exactly as lurid and heavy-handed as its title suggests. Released in 1973, during a European exploitation wave obsessed with medieval sadism and religious hysteria, this German-Austrian production lures with the promise of dark eroticism and moral outrage but delivers a clunky, unpleasant mix of theatrical cruelty and sluggish pacing.

Visually, the film occasionally conjures a sense of decayed menace. Stone dungeons soaked in candlelight, convent corridors thick with foreboding, and muddy village squares all evoke a suitably bleak atmosphere. Cinematographer Franz Xaver Lederle occasionally frames scenes with painterly restraint, but the impact is dulled by the film's erratic editing and murky print quality, which varies wildly depending on the version viewed. What might have been moody and oppressive quickly becomes muddy and monotonous.

Tonally, the film leans into its worst impulses. While some period dramas explore superstition and injustice with nuance, Hexen geschändet flattens everything into a cycle of accusation, humiliation, and punishment. It is less a coherent narrative and more a loose patchwork of sordid vignettes stitched together by vague moral panic. The score wavers between melancholic organ drones and jarringly upbeat cues that feel bizarrely misplaced given the subject matter, further muddying the film's already confused tone.

The performances are as uneven as the script. Herbert Fux, a familiar face in European sleaze cinema, gives the most arresting turn as a fanatical inquisitor, sneering and sweating his way through every scene with manic relish. He alone seems to understand the feverish energy the film aims for. The rest of the cast, particularly the women playing accused witches and helpless villagers, are reduced to one-note victims, alternating between hollow fear and passive nudity. They are given little to do beyond suffer, often graphically, for the camera.

Despite its provocative themes and shock-value title, the film fails to offer insight, suspense, or even sustained tension. It wallows in degradation without ever interrogating the madness it depicts. There is no real character development, no arc of resistance or redemption, only a parade of cruelty that numbs rather than disturbs. Where other films in the witch-hunt subgenre, such as Witchfinder General or The Devils, manage to balance their brutality with commentary or atmosphere, Hexen geschändet settles for crude spectacle.

If you liked the original "Mark of the Devil" (I didn't personally), this is more of the same. The witch-hunters have been pared down to Reggie Nalder, the weirdest looking but least talented of the various actors in the first one. The movie does have a strong female lead this time in Erica Blanc as a noblewoman who opposes the corrupt witch-hunter Nalder and gets accused herself for her troubles, falling into the witch-hunter's lecherous clutches. Despite some tantalizing stills I've seen of this movie, Blanc does NOT get naked in the version I saw thus making the whole thing pretty worthless. If you just don't like Blanc (or women in general) and you want to see her/them gratuitously tortured or raped by Nalder's giant mongoloid assistant, then I'm sure you'll enjoy this much more than I did.

This movie is even half an ass short of the half-ass social criticism of the historical abuses of the Church which is usually found in these films. The sole point of interest, besides the wasted presence of Blanc, is that the film was directed by Adrian Hoven, the producer of the first one and a one time actor and producer for Jesus Franco. Whatever Hoven's talents were though, directing wasn't one of them--his work here ranges from unimaginative to downright laughable (such as when he shoots a rape scene from the first-person POV of the slobbering mongoloid). Even worse than the first one, and NOT recommended