If you have a chance to make a deal with Satan, you might consider asking for Dennis Wheatley’s book sales and film royalties. Among Wheatley’s many best sellers were a series of thrillers featuring the Duke de Richleau and his three loyal friends Simon Aaron, Rex Van Ryn, and Richard Eaton (Wheatley loosely modelled them on Dumas’ Musketeers). In a number of their adventures, the Duke employed his knowledge of the occult to battle diabolical supernatural forces. Fortunately, Hammer Films smelled an opportunity and in 1968 brought together some of its best talent to adapt Wheatley’s chilling and exciting tale The Devil Rides Out.
As I’ve mentioned in many of my recommendations, I like films that get right down to story telling without a lot of needless expository set up and context setting. The Devil Rides Out is a model of the form, opening with The Duke (Christopher Lee) and Rex (Leon Greene, though dubbed by Patrick Allen) dropping by unannounced at the home of their friend Simon (Patrick Mower) and discovering to their alarm that he’s fallen in with a group of Satanists! Investigation soon reveals that the sinister cultists are led by a hypnotic menace named Mocata (Charles Gray) and have designs not only on Simon, but also on a young woman named Tanith (Niké Arrighi) with whom Rex is enamored. The brave heroes seek help from The Eatons (Rosalyn Landor and Paul Eddington) and this redoubtable foursome commit to saving Simon and Tanith in the face of mounting threats summoned from Hell itself. Chills, suspense, and excitement follow.
Terence Fisher was Hammer’s best director, and he’s on his usual crisp and intelligent form here. Some horror directors accentuate supernatural goings on with melodrama and splatter. Fisher had an opposing, more British style: his characters are thoughtful, their relationships nuanced, and the demeanor remarkably restrained given the proceedings around them (down to all of them wearing suits and ties in virtually every scene even as they battle Satanists with fist and cross). Fisher had a fine script with which to work, by the great Richard Matheson, whose work I have touted in a half dozen other movie recommendations. He paces the story masterfully, doling out action sequences and character development at just the right rate. Matheson throws together Druidic, Pagan, Egyptian, Christian, and Masonic traditions fairly haphazardly along the way, but this is entertainment, not a theology course.
This movie gave Christopher Lee a rare chance to anchor a picture in a thoroughly heroic role. Hammer Studios would normally have cast his friend Peter Cushing in role like the Duke. Cushing was always good, but Lee surely deserved this role after being wrapped in mummy bandages, sucking blood, shambling around with bolts in his neck, and all the rest of it in all those Hammer monster movies. He’s appropriately commanding as an aristocratic do-gooder, while also conveying enough humanity to make his character likable and the core relationships in the movie believable.
In a sturdy cast, Charles Gray makes a strong, frightening, impression as Mocata (which allegedly landed him the subsequent role of James Bond’s enemy, Ernst Bloefeld, in Diamonds are Forever). Patrick Mower, who had a recurring part in the Callan series (my recommendation here) is solid in his debut role, and Paul Eddington shows the developing talent that would later make him such a joy in Yes, Minister. Rosalyn Landor also registers as the brave Peggy Eaton, including through some unusual character developments that I won’t spoil.
Modern viewers may find the special effects cheap and unconvincing by today’s standards, which they are. I found the dated effects kind of charming (much as I do the sets in classic Universal monster pictures), and their limitations in no way reduced the tension during the heroes’ extended face off with the enemy in a Satanic circle. Overall, The Devil Rides Out is one of Hammer’s best movies in the horror/thriller vein, and that’s definitely saying something.
p.s. I suppose one could say this about many British films, but I couldn’t help noticing how many people associated with this film ended up in Sherlock Holmes adaptations. Christopher Lee played Sherlock Holmes multiple times, including under Fisher’s direction, and played Mycroft Holmes in Billy Wilder’s magnificent The Private Life of Sherlock Holmes. Charles Gray played Mycroft both in The Seven Percent Solution and Granada’s television series starring Jeremy Brett. The Granada series also featured Patrick Allen as Professor Moriarty’s right-hand man, Rosalyn Landor as the heroine of The Speckled Band, and, at the age I believe of 100, Gwen Ffrangcon Davies, who has a small part as a Satanist here.