The Devil Is In The Details

Based on the novel by Dennis Wheatley (The Devil Rides Out), the film version of To The Devil A Daughter (1976) bears little resemblance to its source material. It’s little more than a hodgepodge of supernatural claptrap, further hampered by a jumbled storyline, but it is entertaining nonetheless to die-hard classic horror fans like me. 

Here’s a thumbnail of the plot: An occult novelist is called upon by a desperate man to rescue his daughter who has been brainwashed in a Bavarian monastery by a pseudo-Catholic cult as part of a Faustian pact he now regrets. (That’s complicated enough, but there are about a dozen other subplots to contend with here as well.)  

Directly influenced by that bankable genre starting with Rosemary’s Baby and continuing through The Exorcist and The Omen, this contemporary rather than gothic Hammer Film borrows heavily from them all. Its overstuffed storyline is crammed full of black magic, voodoo and various and sundry occult mumbo jumbo, replete with an obligatory Black Mass/Hieros Gamos ritual sex scene.

The cast is first-rate, proving the old adage that even the greatest collection of actors can’t save a movie from a bad (or nonexistent) script.

A properly clothed Lee and Kinski

Hammer veteran Christopher Lee (Horror of Dracula, The Wicker Man, The Man With the Golden Gun) headlines the proceedings with a solid and dignified performance despite all the messy twists and turns of the story, sailing through with his signature unruffled panache. Though he had high hopes for this follow-up to his marvelous performance in the classic Devil Rides Out, this film can’t hold a candle to the previous Wheatley adaptation.

As the novelist, the legendary Richard Widmark (Kiss of Death, Judgment at Nuremberg, Coma) has little to do except spout pages of exposition to attempt to explain the incomprehensible and convoluted plot points that never quite come together. (Widmark was found to be difficult and uncooperative on the set, loudly cursing the quality of the script, which changed every day. Viewers will find he was displeased for good reason.)

Sister Nastassia and a peevish Richard Widmark

Widmark’s character does have one good line retained from the Wheatley novel when he explains the appeal of Satanism as an excuse for “dancing naked in churchyards and using the devil as an excuse to get sex.” 

Nastassia Kinski, daughter of German actor Klaus Kinski (who was originally cast in the Widmark role and got a better offer!), is the beleaguered heroine of the piece, the young virgin who must be consort to the demon her cult wishes to invoke. She spends most of her screen time either dressed in a nun’s habit or totally naked, surrounded by chanting devil-worshippers.  

(Incidentally, the film also distinguishes itself by giving us Sir Christopher Lee’s only cinematic nude scene, though reportedly some angles were filmed with a body double. He’s in great shape here, though, for a man of 54!)

Young Nastassia would soon become the protege of director Roman Polanski and star as Thomas Hardy’s ill-fated heroine in his film version of Tess, though she’s probably best remembered from that sex-charged, 1980s Cat People remake.

Denholm Elliott emotes as Honor Blackman models scarves

As Kinski’s tortured father, a wild-eyed Denholm Elliott (Maurice, Raiders of the Lost Ark) chews the scenery using the masterful RADA training that made him such a reliable and fine character actor in countless British films.

The talented Frances De La Tour has a small role as a toothsome Salvation Army worker who moves the plot forward an inch or two—presumably for comic relief, as she never appears again. Honor Blackman, forever known as Pussy Galore from Goldfinger, swans around in fashionable head scarves until she suffers a particularly gruesome death.

There are some effective horror set pieces— a ghost with a crescent shape amulet who is never explained, a terrifying tableau of of a man on fire—every horror trope but the metaphysical kitchen sink is thrown in for good or bad measure. If you don’t think and just watch, you might enjoy some of the spectacle!

The obligatory worship of golden idols

A demon named Astaroth is the idol of worship by the Bavarian cult, depicted as a spread-eagled figure on an upside down cross (the Hanged Man tarot symbol) in a vulgar parody of Christ's crucifixion.

The monstrous little demon baby evoked through a bloody birth ritual is reminiscent of both Lovecraft lore and a shocker made the previous year called It’s Alive. The scene with the bloody baby crawling between Kinski’s legs and salivating blood all over her unclad body is an image you can’t unsee.

This last Hammer horror film does pay homage to its colorful past with the liberal use of bright red blood so beloved to Hammer gore aficionados. In a few key scenes including the film’s climax, bowlsful of the signature fake blood are used, cartoonishly bright red “Kensington Gore” achieved with a mixture of corn syrup, paraben, food coloring and Kodak Photo-Flo fluid. 

If the film had built to a rousing climax and tied up some of its many loose ends, one may be able to forgive its transgressions, but apparently the production ran out of money and the producers were forced to fashion a hasty, tacked-on and underwhelming ending.

Sir Christopher going a little over the top

Ironically, Father Michael Raynor is one of Lee’s most subtle performances, though he does go over the top when called upon! He cuts a handsome figure in his long black cassock and white collar, his manner gentlemanly and enigmatic and understated. With his diabolically charming smile and famously smoldering eyes, Christopher Lee is here, as always, the personification of elegant evil. He emerges from this not-so-great picture completely unscathed.

To The Devil A Daughter is a little known horror curiosity, a campy exploitation film that has developed a cult following for many obvious reasons. Too much is thrown at the wall in the service of entertainment —though a few things stick. If you’re anything like me, you’ll buy the DVD so you’ll be able to fast-forward to “the good parts”—again and again! 

This is my entry in the Christopher Lee Blogathon hosted by Cinematic Catharsis and Realweegiemidget Reviews. I look forward to reading all about one of my all-time favorite and most prolific stars!

Judging Nuremberg

Director Stanley Kramer loved movies with a message...Guess Who’s Coming to Dinner, The Defiant Ones, Inherit the Wind. He is equally well known for his big, splashy epics with all-star casts, like It’s a Mad Mad Mad Mad World and Ship of Fools. Judgment at Nuremberg (1961) combines both of Kramer’s directorial strengths in one powerhouse of a film.

Based on a Playhouse 90 television drama with a script by Abby Mann, the film version had to be bigger and more spectacular, so director Stanley Kramer pulled out all the stops by planning location filming in battle-scarred Nuremberg itself and assembling a cast that audiences would pay admission to see in the theaters.

But Judgment is far more than a collection of stars. It provides a group of fine actors the opportunity to lay their Hollywood personas aside and sink their teeth into unusual, once-in-a-lifetime roles.

Burt Lancaster as Dr. Ernst Janning

Rugged Burt Lancaster, whose career had been built as much upon his good looks and athletic physique as his acting talent, plays against type as the aging Dr. Ernst Janning, who signed into law the Nazi edicts that robbed millions of citizens of their human rights. When Janning’s resigned stoicism gives way to regret and contrition, the audience experiences a catharsis that’s a testament to the talents of a truly gifted actor.

Maximilian Schell and Richard Widmark

Handsome Richard Widmark has rarely been better than as the crusading American prosecutor hell-bent on justice for the millions of Jews slaughtered during the European genocide. Self-righteous and angry, hating every moment he must spend in the enemy’s homeland, his demonization of an entire nation of people seems nevertheless justified.

Judy Garland as Irene Hoffmann

Judy Garland, absent from films since 1954’s A Star Is Born and now approaching 40, is compelling in the non-singing character role of hausfrau Irene Hoffmann, who enjoyed a controversially intimate friendship with a Jewish neighbor when back in her teens.  In this small part, Garland is heartbreakingly vulnerable, a bird with broken wings. For this performance, Judy Garland was nominated for an Academy Award as Best Supporting Actress.

Montgomery Clift as Rudolph Petersen

Montgomery Clift channels his inner demons to portray the mentally disabled Rudolph Petersen, whom the Nazi Party ordered sterilized to “cleanse” the population of debility in their quest to evolve into an Aryan super-race. Clift’s startling cameo as the halting-voiced and humiliated victim of inhuman torture is unforgettable.

Marlene Dietrich as Frau Bertholt

Glamorous German ice queen Marlene Dietrich is perfectly cast as Mrs. Bertholt, widow of a convicted and executed officer of the German army, whose home Judge Haywood is given for the duration of the trial.  Her explanation and rationalization of Nazi atrocities summarizes the prevailing post-War German attitude toward the Holocaust: “We did not know.”

Maximilian Schell is passionate and fiery as the young attorney assigned to defend the indefensible. His skillful and articulate direct and cross examinations of witnesses, so beautifully laid out by writer Abby Mann, is highly compelling and almost succeeds in obscuring the architects of the 20th century’s most ignominious tragedies in reasonable doubt.  For his performance, Schell won the Best Actor Academy Award.

Spencer Tracy as Judge Dan Haywood

With his craggy face furrowed and his weary shoulders bowed with profound questions of right and wrong, good and evil, Spencer Tracy brings the full force of his considerable talents to bring the difficult role of the tribunal judge Dan Haywood  to life. Though it’s been often said that Spencer Tracy reduced his own film acting philosophy to one simple rule: “Find your marks and tell the truth,” there is a lot more going on here than mere technique. Tracy’s thoughtful and multidimensional performance is understated yet powerful, but melds beautifully with the introverted method-like work of Garland and Clift and the more representational portrayals of German actors Dietrich and Schell.

Director Kramer’s point of view, as seen through protagonist Tracy, allows every character of the story humanity and dignity, even those who condoned atrocities that robbed millions of those same qualities.

For lovers of courtroom drama and truly great acting, Judgment at Nuremberg is a must-see.