Devils of Darkness

NR 4.9
1970 1 hr 28 min Horror

A secret vampire cult, which has its headquarters beneath the town cemetery, searches for victims for its human sacrifice rituals.

  • Cast:
    William Sylvester , Hubert Noël , Carole Gray , Tracy Reed , Diana Decker , Rona Anderson , Peter Illing

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Reviews

WasAnnon
1970/12/02

Slow pace in the most part of the movie.

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Stellead
1970/12/03

Don't listen to the Hype. It's awful

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Ghoulumbe
1970/12/04

Better than most people think

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Salubfoto
1970/12/05

It's an amazing and heartbreaking story.

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simeon_flake
1970/12/06

I guess I shouldn't be taken aback by all the references to "Hammer," or how this film is reminiscent of their style. I guess any horror from Britain made during this period might conjure those thoughts, as I was having them myself. The style, the atmosphere, the hot women running around throughout the proceedings.Of course, I've heard "Roger Corman" too, but I haven't seen much of his work. At any rate, this is good stuff. Not quite Hammer "Dracula," but pleasing to the eyes and the finale is noteworthy. Good B-Movie fun...

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Spikeopath
1970/12/07

Devils of Darkness is directed by Lance Comfort and written by Lyn Fairhurst. It stars William Sylvester, Hubert Noel, Carole Gray, Tracy Reed, Dianna Decker and Rona Anderson. Music is by Bernie Fenton and cinematography by Reg Wyer.It's modern day and a secret vampire cult thrives beneath the town cemetery. Led by Count Sinistre (Noel), they search for human victims to sacrifice at their rituals."These people. This village. There's something they're afraid of."Probably afraid of being known for being in this film me thinks! OK, that's a little unfair, for Devils of Darkness is not without some merit. The production design is very nice, filmed in Eastman Colour there's a garish hue to the reds and greens that befits the narrative, even if it doesn't quite marry up to the modern day setting! The problem in the main is that nothing really happens of interest, the film is rather bloodless and devoid of mystery and peril. A plot thread involving an amulet goes nowhere, though we are led to believe it is crucial to the sinister Count Sinistre's (get it?) very being, while salaciousness is only hinted at and never expanded upon for filmic wallop.Elsewhere the problems continue with the acting. Noel is no bad actor, but his villainous Count is, well, rather wimpy, he may well charm with a touch of class about him, but he doesn't look like he could fight his way out of a paper bag. Sylvester's Paul Baxter, our hero, kind of bluffs his way through the plot, in fact he doesn't go mano mano with the Count, leaving the film desperately reaching out for some good versus evil thrust. The ladies of the piece fare better, with Decker, Reed and Gray adding some characterisations and sexiness that deserve a better movie. It's dialogue heavy, we get a rubber bat thrown in for good measure, and even though there's some nice visual touches, it is, all told, a failed attempt by Planet Films to take a bite on the horror coat tails of Hammer and Anglo-Amalgamated. 4/10

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BrentCarleton
1970/12/08

Much better than often reported, this beautifully photographed British horror is a well upholstered turn down the familiar vampire path, enlivened by some delicious tongue in cheek. Directed by cult director Lance Comfort, (see Brian MacFarlane's monograph on his career) the film opens with a dazzling dance sequence set amidst a mid forest gypsy encampment, interrupted by the first burst of horror--accompanied by a swooping bat and a gust of wind.These forest sequences are visually arresting, and include an eerie torch light parade photographed in reflection from a lake's surface.As for the story, it concerns a modern day male vampire, (equipped with Louis Jourdan accent and beautifully cut suits) who turns out to be reincarnated from the ancient past.Despite some dull detective sequences, (of the type that slow down Bava's "Blood and Black Lace") the picture manages an effective array of diverse settings including forest sequences, a country manor house, a catacomb lair, a jammed to the rafters antique shoppe, an artists' atelier, the reading room of the British Museum and a groovy bachelorette pad that is host to one of the screen's all time campiest cocktail parties.Indeed, this sequence, replete with the Watusi, and Frug, and featuring an array of cigarette puffing (with holders!) extras that seem to have been recruited between takes from the sets of "Darling" and "A Taste of Honey", (one keeps looking for Julie Christie to appear) is guaranteed to elicit howls. And if that doesn't catch you, please note that Diana Decker's wardrobe had the female audience cooing at a recent screening.Moreover, the climax, featuring a cave in which destroys the vampire clan, is well staged and shot.Picture seems influenced by Don Sharp's superb "Kiss of the Vampire," and while it doesn't hold a candle to that stellar feather in Hammer's cap, it does emerge as an interesting and zesty contemporary take on the same theme.

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pninson
1970/12/09

This is basically a Hammer Films knock-off, in terms of set decoration and production design. The result is a nice-looking movie with a muddled, incoherent story, weak acting, and limp direction. It's not exactly excruciating to sit through, but it's one of those films that makes you feel you could be doing something better with your time.The plot is a mixture of vampire and devil worship, and although there are one or two good moments, there's not enough substance to make it particularly interesting.If you're fond of campy/cheesy B-picture horror, you might want to give this one a look, but I wouldn't put it at the top of your list.

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