Die schwarze 13

It certainly has all the ingredients to make this a classic, but fails to make it through for me, despite the pretty impressive cast.

It does bring to mind the Deborah Kerr cult movie The Innocents, but doesn't quite get there. All the components are here, but I thought the lack of pacing of the film made this less effective entertainment.

It is interesting nonetheless if you can take the slower pace. The outside shots mostly take advantage of the set location in France in a castle or chateau, which adds to the atmosphere quite well. The film does have the feel though of being filmed the earlier 1960's, rather than in the second half, with the camera angles etc i.e. close up of the actor to the side of the shot with the action/plot developing in the distance. It's shot in black and white which works very well, just at this time in cinema, there was the colour explosion going on.

The two "youngsters" here, David Hemmings (died blond hair) and Sharon Tate certainly look good, which is handy, as they do not appear to have many lines. They mostly go for the quiet manacing look school of acting here.

For those who like a bit of S&M, Sharon Tate gets a whipping and seems to like it, but don't expect too much, and that includes any erotic scenes or nudity. Just as well, as they are not needed, although it may have made the film slightly more interesting if tastefully done.

Sharon goes through the film looking like a model here in nearly all of her screen time. Donald Pleasance is Donald Pleasance who gives most of his best acting with his eyes, and does not have the lines or role to make his performance more memorable, which is a shame. As to David Niven's performance, it was good enough, but no particular plaudits from me (or criticism). Deborah Kerr is quite good, and is trying reasonably hard I thought, as did Flora Robson.

It's a 60's, B/W film, driven by a pagan plot with the usual accoutrement's (monks in hoods etc), and if that is your thing then give it a go. Not an out and out classic, but is worthy of being mentioned with the best of this genre, and more as an interesting flawed cult movie for horror fans.

"Eye of the Devil" had a very troubled history. Kim Novak was originally cast as the female lead, but production had to be shut down as she proved inadequate to the role's demands (surprise!) and was let go.

The film is about a French nobleman (played by David Niven) who's family fortune is tied to a small village that makes wine. He's called back to the family chateau as the vineyards have been failing for a few years, an announcement ripe with sinister and mysterious overtones. He tells his wife (Deborah Kerr) not to follow him or bring their two children, but soon she does just that, fearing for his safety.

What follows involves ancient pagan rituals, witchcraft, and deadly family secrets that go back centuries and can be handed down to the next generation.

There's a nice thriller in here somewhere, and director J. Lee Thompson manages some creepy scenes here and there. Best are the scenes with a manipulative and hostile Sharon Tate and/or David Hemmings, and one where Kerr is menaced by a group of hooded figures in the woods. Also the ending is properly disturbing.

But for the most part, the film's atmosphere is gloomy and dank, which kills the suspense. It doesn't help that both Deborah Kerr and David Niven are both too mature at this point to be playing parents of small children. Niven looks mostly distracted and Kerr, while capable in her damsel-in-distress role, does a less interesting variation on her brilliant performance in "The Innocents," though in that case the role was far more complex. As for the late Ms. Tate, I'm convinced her voice was dubbed by another actress, but she does cut a very provocative figure.

The film contains too many characters, and not all the plot makes much sense. This is strictly something for British horror fans to watch out of curiosity, or for devotees of Deborah Kerr.

Historically speaking this film serves as an invaluable precursor to Anthony Shaffer's ingenious THE WICKER MAN, starring Edward Woodward and Christopher Lee. Taken on its own, however, EYE OF THE DEVIL is an effective but wildly uneven film.

The story deals with a wealthy French nobleman (David Niven) who is called back to his ancestral castle when the crops fail. Due to his erratic behavior regarding this summons, wife Deborah Kerr becomes increasingly worried about Niven's safety. Against his orders, Kerr takes her children to his ancestral castle, where she witnesses many strange and eerie religious rites. The question then becomes, will Kerr be able to rescue Niven from a ritual sacrifice, and -- indeed -- does he wish to be saved?

Owing to its erratic production history, it's not surprising that EYE OF THE DEVIL is a bit rough around the edges. The story is obtuse, and the characters under-developed, but director J. Lee Thompson employs an intriguingly arty approach that keeps one alert throughout. Thompson makes excellent use of Ernest Haller's mobil camerawork, most notably in a memorable race-against-the-clock climax. Additionally, the score is excellent, and the cast is well above average for this sort of thing. In the lead roles, Kerr and Niven are effective and restrained, but it is the supporting cast that really impresses: Donald Pleasence, his head shave completely bald, as a sinsiter cleric; David Hemmings as a seemingly evil youth; and especially Sharon Tate as Hemmings' enchantingly sensual/wicked sister.

In the end, EYE OF THE DEVIL cannot be considered a great film. It is, however, an above average diabolical thriller, and as such can be recommended to horror fans. My rating: *** out of ****

Curiously solid, little occult psychological thriller that's sinisterly gloomy and consists of a banged-up ensemble cast featuring names like David Niven, Deborah Kerr, Donald Pleasance, David Hemming and Sharon Tate. A wealthy French nobleman returns back to his home town, along with his wife and children to help out with the town's failing vineyard. When there he tries to keep it secret from his wife, but she soon discovers the family tradition of Pagan sacrifice . The professionally classy performances are fitting, especially the support roles with Hemming and Tate really embellishing a creepy presence. Same for a cold-glazed Pleasance. Director J. Lee Thompson's atmospheric touch shows in many frames of this crisp b/w presentation, from the spooky castle, to the watching townsfolk and a disorientating chase scene through the castles nearby forest. It's attractively photographed, where Thompson also goes about providing some frenetic camera angles to lay out the anxiety of the circumstances. Despite some short-lived pockets, tension seems to be replaced by glum atmospherics in what feels like a slow-burn mood piece with a stringently compounded script breathing plenty of mystery and intrigue from that dark secret formula. Some things are not entirely explained, but it gives in to a devilish ending, but it's a very long build up to its foreseeable payoff. Some motions and actions of Kerr's concerned, but caring mother figure were somewhat an irritation. Niven is fine as the man tormented by his ancestral responsibilities, but it doesn't ask too much from him. While Kerr was the opposite with her emotive turn. The music score is melodically haunting in its angelic cues. A wickedly sleepy black mass thriller.

"Drive out of this valley. Never come back.".

Eye of the Devil doesn't exactly have a good reputation, but much of the criticism aimed at it is rather unfair in my opinion; as while the film certainly could have been a lot better considering the plot and the cast; this British chiller isn't bad at all, and certainly provided this viewer with enough chills and suspense. Based on a novel by Philip Loraine, Eye of the Devil could be called a predecessor to the great British occult classic 'The Wicker Man' as it features similar themes of devil worship and witchcraft. Although not as good as the later film, J. Lee Thompson's effort is still a more than interesting film that just about works in spite of the overly complicated and often confusing mess of a plot. The film follows vineyard owner marquis Philippe de Montfaucon, who is called back to his castle after a dry season. His wife and children follow him, despite his request for them to remain in London; and it's not long before the wife is on his case after she discovers him acting strangely. Things take a turn for the more sinister when the strange vineyard employees begin following ancient Pagan rituals...

The central locations; that being the castle and surrounding vineyard, are very well used, and benefit the film in that they lend it a thick, foreboding atmosphere. The plot revels in this atmosphere - and themes of witchcraft and devil worship are well used and at the forefront at all times. The film's biggest asset, however, is undoubtedly the cast list; and Eye of the Devil benefits from an array of present and future stars. Casino Royale stars David Niven and Deborah Kerr take the lead roles, and the pair are given excellent support by a young Donald Pleasance, as well as The Fearless Vampire Killers' Sharon Tate and a very eerie performance by Deep Red's David Hemmings. The only area that the film falls down on really is the writing; as it is often difficult to decipher exactly what is going on, and there is, perhaps, a little too much plot for a film of this nature. The story does allow for a number of standout moments, however; and scenes such as the one that Sharon Tate and Deborah Kerr share at the top of castle will stay in my memory for some time. Overall, this isn't a must see or classic film; but it's a decent horror effort and should appeal to horror fanatics.