Devil Doll

I really liked this movie for several reasons. I thought that the special effects were very good for the time, 1964, the hypnotist was excellent. He played the part perfectly. It was a great story line. I think that the movie was under rated. The writer should have gotten special notice. Last but not least, when I first saw this movie I was 13 and my male hormones went nuts over the assistant who showed off her butt. The movie had a great atmosphere that I wish modern day movie directors would take notice of. There was no slash, no gore and no bad language. Instead of showing all the blood and guts of todays horror movies, they should take notice of movies like this.

Effective British thriller about a cruel ventriloquist called The Great Vorelli (Bryant Haliday) who keeps the soul of his former partner imprisoned within the confines of his wooden dummy, Hugo. His latest intended female victim is one of the most stunning women to ever grace this planet, the gorgeous Yvonne Romain. There have been a number of such movies made about ventriloquist dummies that come to life and kill, but DEVIL DOLL is one of the more unsettling ones I've seen. The only drawback is, the film is shot with far too many tight closeups, making the film feel claustrophobic and TV-like. There is a US version and a "Continental" version available. The US version is preferable because it contains a scene that is crucial to the story, while the Continental version omits this sequence in favor of showing some unrelated topless nudity. **1/2 out of ****

The Image DVD of this film includes both the original release and an alternate Continental version. There are the following differences in the film.

(a) the initial opening credits are slightly different. The original print has a separate starring credit for Bryant Haliday "as the Great Vorelli" but the continental print credits William Sylvester above Bryant Halliday (sic). There are also some differences in the production company credits with an "Anglo-Amalgamated" credit missing from the Continental print.

(b) 41m14s to 44m40s

The scene between Haliday and Sandra Dorne in Haliday's dressing room (a fairly important scene in establishing Dorne's character and providing a motive for her later murder) which ends with them going into a side room for some (off-screen) sex is missing from the Continental print. Instead, an entirely new scene has been substituted (16s longer in total) which shows Haliday's stage act once more. In this new scene (which does not appear in the original version and was especially filmed for the Continental print) he invites a woman on stage and hypnotizes her into performing a striptease which continues at length until the woman is topless.

(c) 48m15s

A shot of Dorne turning in her sleep is filmed in an alternate cut in the Continental print to show more of her exposed breast.

(d) 48m54s

In the follow-up shot of Hugo approaching to stab Dorne the Continental print has an alternate take in which you see her exposed breast.

(e) 49m47s to 51m07s

Sylvester has a phone conversation with an American colleague in Berlin. This man is accompanied by a young woman who fiddles with her hair and sits on his bed. In the theatrical print she is wearing a bikini and a see-through negligee. The Continental print is an alternate take in which she (the same actress) is topless.

In my view the original cut is definitely superior because the deletion of the dressing room scene from the Continental print (and its replacement by the gratuitous striptease) makes Dorne's subsequent murder abrupt and seemingly arbitrary - the character had also been hanging around the periphery of the action waiting for an appropriate exposition scene to explain her that, in this version, never comes.

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

Hey, what's with the ridiculously low and miserable rating of not even 3 out of 10? I ventured into this film without checking its title page on IMDb, which is something I rarely ever do, but now I'm glad, otherwise I probably would have passed an missed out on a fairly engaging, original and chilling little 60's gem. Perhaps the low rating is linked to the fact that this is another film that undeservedly received the feared and notorious MST3K-treatment, which tends to hugely influence viewers opinions, but it really isn't such a bad film albeit admittedly a bit derivative and suffering from a lack of budgetary means. But at least the film is atmospheric. Like clowns, ventriloquist dummies have some sort of uncanny aura surrounding them and the more you look at them, the scarier they become. Director Lindsay Shonteff ("The Million Eyes of Sumuru") clearly realized this as well, because he stuffed his film with extended still shots of dummy. It's strangely unsettling because you're staring at something lifeless, yet you somehow feel like he's staring back at you. The script of "Devil Doll" also centers on another eerie surreal phenomenon apart from ventriloquism, namely hypnotism. The Great Vorelli has a successful act where he hypnotizes people on stage and then ends with his dummy Hugo, a dummy that can not only talk and pull menacing grimaces, but also walk all by himself! The skeptical journalist Mark English is intrigued with the act, and whilst he's trying to unravel the mystery of Hugo's ability to walk, Vorelli has set his mind on conquering the heart and soul of Mark's enchanting fiancée Marianne, whether she wants to or not. The revelation of the mysterious dummy's secret is ingenious and I don't think I've seen this type of twist in any other movie ever before. The acting performances are good, notably Bryant Haliday's sinister role of the Great Vorelli is memorable, there's a constant atmosphere of tension and Hugo is one scary Pinocchio! If you come across this film, please do ignore the bashing reviews and low scores and give it a chance. It may be not nearly as good as other wicked-dummy movies, like "The Great Gabbo" and the downright brilliant short segment in the horror anthology "Dead of Night", but it's unquestionably a worthwhile 60's horror effort.