Devil Doll

I actually liked this b/w low budgeter that made the rounds at the drive-ins back in the early-60s. It deserves better than the MST3K treatment since the acting isn't bad at all.

The Great Vorelli (Bryant Haliday) knows the art of transferring souls into inanimate objects, in the case a ventriloquist's dummy Vorelli uses in his stage act. He runs into rich, beautiful Marianne Horn (Yvonne Romain) and seeks to hypnotize her into marrying her and gain her inheritance. William Sylvester plays the reporter (and boyfriend) of Romain who's investigating Vorelli.

The ending fight scene between the dummy and Vorelli is unintentionally hilarious so I can see why MST3K picked it for an episode, but the rest of the film isn't played for laughs. Nice little twist when Sylvester walks in at the end of the fight.

The widescreen anamorphic Image DVD has both the Euro print with topless scenes, as well as the censored U.S. version. The poster named "35541m" has a pretty good rundown over the differences between the two written below. However, I should add that the Euro print is sharper and in slightly better shape than the U.S. print.

6 out of 10

Devil Doll (1964)

*** (out of 4)

Effective and perfectly made British horror film has Bryant Haliday play The Great Vorelli, a hypnotist/ventriloquist who can do things that no other can. Why is that? Because his dummy actually has the soul of his former assistant in it and Vorelli plans on making another dummy and putting the soul of a woman (Yvonne Romain) he's hammered with in it. This film has an incredibly low rating on IMDb, which I'm sure is going to keep many people away but I'd guess a lot of those low votes come from people just giving it low votes because MST3K did an episode with this. A lot of other books and magazines praise this film and I'm going to do so as well. I normally tend to find British horror films a tad bit boring and while this one here begins to lose steam as it rolls along, it still manages to be quite effective. What's most impressive is the cinematography and editing, all of which is done on a very low budget. Some have said the film has a made for TV look but I'd disagree with this. Yes, it's mostly close ups used but I think this works out to be very effective because it puts us so close to Vorelli and the dummy that you can't help but feel as if you're under a trance as well. I really loved how the film was edited and this could be used as evidence that editing is the most important thing in a film. Just watch the first stage show where the dummy first begins to walk. It's rather obvious that a midget is doing the dummy but the way this sequence is put together makes it rather chilling when you see him start to walk. The ending, while a bit over the top, also features some great editing as well. I found Haliday to be quite pleasant in his role as was Hammer queen Romain. I wasn't too impressed with William Sylvester but he too was still better than you'd normally get in such a low budget film. I watched the European version of the film, which features a tad bit more nudity and features a few strange sequences like a striptease. This isn't the most original movie ever made but it's the perfect example of something done right with very little money.

A beautifully-crafted low budget shocker which has unfortunately been overlooked in view of the classic 'Ventriloquist's Dummy' episode from the horror compendium film, DEAD OF NIGHT (1945; episode directed by Alberto Cavalcanti). Actually, it bears very few similarities to it: the dummy may be called Hugo as in the earlier film (though DEVIL DOLL was in fact based on a short story written by Frederick E. Smith), but here we have the ventriloquist who is doing the mind-controlling and the dummy who is subservient to him, whereas in the 1945 film it was the other way around.

Some dated elements like the dance number early in the film (couldn't they have thought of something more sinister as a way of making the heroine, Yvonne Romain, fall under the hypnotist's spell?) are not enough to spoil DEVIL DOLL's very effective suspense sequences, especially whenever The Great Vorelli and Hugo get to share the screen. Performances are generally adequate (including William Sylvester as the requisite American 'star') but Bryant Halliday obviously dominates the film as the villainous Vorelli. Reminiscent of John Barrymore in SVENGALI (1931), his sheer magnetic presence makes one wish he had made more films of the caliber of DEVIL DOLL. (On a side note, we DVD Maniacs should also feel obligated towards him for his capacity as co-founder of Janus Films, 'home owner' of The Criterion Collection!)

Some critics find the film a bit flat, almost like a made-for-TV film: it does have a tendency towards showing the actors in close-up but this, as explained in the commentary, was more due to budgetary limitations than to a conscious choice of film-making style adopted by the director; furthermore, the plot's very dependence on various states of emotion on the characters' part makes the intimacy of it all entirely appropriate!

Which brings us to the ending: though unconvincing in detail (Vorelli's transference of souls gradually took place over a period of months but here it happens in a flash!), the impact of it is undeniable and makes for a hugely satisfying climax to a wonderful little film, a genuine sleeper and now regaining some well-deserved momentum with Image Entertainment's excellent DVD release.

Keeping in mind that Devil Doll takes place in England right about the time of the Beatles invasion, Devil Doll is a pleasant curiosity. Sure, it's a little slow and quaintly dated, but take yourself back and you'll have fun. Amusing touch is the dance sequence featuring a frantic Twist display. William Sylvester is a familiar face: 2001 A Space Odyssey and Gorgo, to name only two of many. It's nice that it's available and to be able to see Devil Doll as a step back in time.

What an act the Great Vorelli has, in the 1964 British horror thriller "Devil Doll"! Not only can he hypnotize audience volunteers to perform any kind of outlandish stunt, but he can also make his ventriloquist's dummy, Hugo, talk and act most uncannily lifelike. But how to explain Hugo's ability to locomote all by himself? That's what reporter Mark English (excellently portrayed by American actor William Sylvester) tries to find out, in this very effective little sleeper. While I would never dream of revealing Hugo's back story, I will say that he is a much creepier presence than the modern-day Chucky, if perhaps not as homicidal; the filmmakers of "Devil Doll" get maximum bang out of Hugo's merest eye movements and head turnings. It really is remarkable how much emotion can be inferred in the little puppet's homely mug; his is hardly a wooden performance! In addition to this living doll's eerie presence, the film boasts stunning B&W photography, uniformly fine acting (especially by Bryant Haliday as Vorelli, who comes off far more sinister here than the evil hypnotist played by Jose Ferrer in 1949's "Whirlpool"), intriguing FX (negative images, freeze frames) and a literate script. Despite the central doll character, this is very much an adult film that is not suitable for the kiddies. The crisp-looking DVD from Image that I just watched also includes the so-called "Continental" version of the film, which contains a striptease sequence and several bits of nudity not present in the American release. As does producer Richard Gordon, I prefer the American version, simply because the "racier" print excises an entire scene between Vorelli and his assistant Magda that helps us better understand Vorelli's character. Either version, though, is a surprisingly winning entertainment.