Seven Footprints to Satan

I very much enjoyed watching this film recently. After so many years of reading about it, looking for it, etc., I was not at all disappointed as I so often am ("L'Atlantide" ["Mistress of Atlantis"] comes to mind).

This is one of those Silent horror films I thought I'd only get to read about in reference books, as it was considered lost – until an Italian print, albeit extremely faded, eventually surfaced. Actually, the version I watched has been renamed Satan'S STAIRWELL – which I assume is a literal translation of the film's Italian title – while the intertitles themselves have been translated back into English (and which tend to remain on screen for an inordinate length of time)! Of course, one is happy to take such rare films in any form they may come…

Typical of many latter-day Silents, the horror element here is mingled with intermittent doses of comedy – though not so much as in, say, THE CAT AND THE CANARY (1927), with which it shares leading man Creighton Hale in a similar role; he's partnered in this case with the popular and tragic Thelma Todd, who comes off somewhat better than Laura La Plante from the earlier film (from the cast, I also recognized Sojin and the ubiquitous Angelo Rossitto – but had no idea that 'The Spider' was played by Sheldon Lewis, who had over-acted so horrendously in the rival 1920 version to the John Barrymore DR. JEKYLL AND MR. HYDE). Also, like THE CAT AND THE CANARY, Christensen's film boasts a very striking visual style highlighted by inventive – and impressive – art direction, camera-work (simulating, for instance, the motion of going up the various floors of the main 'haunted house' set), lighting and editing (at one point, a door opening is quickly followed by a succession of gunshots, only to be revealed as the hero engaged in target practice).

What makes the film unique, perhaps, is its relentless parade of grotesques (a dwarf, a gorilla, a pock-marked cripple, an ape-man, a sinister Oriental, an androgynous servant, etc.) and assorted maidens (either scantily-clad hostages or perverted followers of a satanic cult); all of this gives the film a creepy overall tone which is not easy to shake off and has seldom been replicated with such gusto: the climactic orgy is downright chilling – a veritable Pre-Code moment – with its suggestive flagellation (anticipating a famous scene in THE SIGN OF THE CROSS [1932]) and satanic audience (though the Devil himself is depicted as nothing more scary than a mysterious figure in a hood!). Which brings us to the cop-out ending that's moralistic (in a good-natured way) but not really unexpected for a horror film of its time (think London AFTER MIDNIGHT [1927]) and, in any case, shouldn't be seen as too much of a let-down considering just how satisfying – and immensely enjoyable – the lead-up to it has been!

In conclusion, I wanted to comment on Christensen's Hollywood career: one may think it a shame that he seems to have gotten stuck in the 'old dark house' subgenre – what with his having directed two more of those, THE HAUNTED HOUSE (1928) and HOUSE OF HORROR (1929), both also featuring Todd and both of which, unfortunately cannot be assessed due to unavailability – but, the fact remains that he seriously bungled his one chance at working with the great Lon Chaney on the hoary and ill-suited Russian Revolution melodrama, MOCKERY (1927). However, while his work may have been overshadowed by that of other European directors employed in Hollywood during the final days of the Silent era, this viewing of SEVEN FOOTPRINTS TO Satan more than restores his reputation as a visual stylist and someday I would love to be able to check out his only remaining surviving film, the intriguing THE DEVIL'S CIRCUS (1926)

In the 1920s and early 30s in the realm of mystery/horror/comedies Benjamin Christensen may have been the greatest director working in them. He directed a trilogy of mystery/horror films that not only define the genre, but his talents.

Paul Leni and Roland West may have been the only directors as talented as him working on these types of films at the time, but in terms of the quality of the image, the composition, the framing and the mise-en-scene, he surpasses even them. Each had their own specialty, though; Leni-set design; West-special camera effects.

His previous film, 'The Haunted House' (1928) was at the time hailed as his best of these. It may be the greatest 'lost' horror film in terms of artistic merit. He then made 'Footprints' and 'House of Horror' in 1929. Only 'Footprints' seems to have survived to this day.

The only version of this film that seems to be available is an Italian title-carded version of which I viewed a copy. Luckily for me, I had someone translating Italian for me (my sister) so I could figure out what was going on. I still felt like I was missing something, so I watched it again.

Upon second viewing, and having known the plot, I was able to view the real story of this film - the movement of images, the magnificent cutting and the chiaroscuro - still excellent in this worn print. This film actually seems to be about movement rather than a plot. The camera does not move much, but it does in key spots. The interplay and blocking of the characters is outstanding and is seamlessly edited to create a truly visceral experience.

The constant parade of gorillas, dwarfs, madmen, and wenches that our hero (Creighton Hale) experiences is exhaustive. Christensen takes us as our designer and guide in this nearly literal carnival ride through the 'house of Satan'. Some of the horror images are as amazing as you will see from the 1920s!

Sadly, since this film is finally available, after being believed lost for many years, it has garnered no attention. Perhaps because it is an exercise by Christensen, and not a once-in-a-lifetime masterpiece like Haxan, no one is as interested. Perhaps the ending, which may disappoint many, is the reason. Or maybe because it is only in Italian? It is certainly not the filmmaker's fault.

Christensen, like Rex Ingram was very painterly. However, even more than Ingram, Christensen had really mastered the editing of his 'painted' images and has created something here that deserves much attention from silent film scholars and fans. If not for his lack of a moving camera, he was as skilled and as talented as almost any director in the 1920s. 'Footprints' is an artistic gem that deserves more attention from silent and horror film fans.

A young man longing for adventure end up in the middle of a robbery and trapped in castle like home where some very strange people are wandering about. It all builds as all the "old dark house" conventions are played up to the max before it ends in a manner that is both logically right and completely wrong. I dare not say anything else since this is such fun to watch.

Benjamin Christensen's Seven Footprints to Satan was thought lost for years. During that time it gained a reputation as one of the great films. Thankfully the re-emergence of an Italian titled print proves that Christensen had indeed made what is probably one of the greatest "old dark house" thrillers ever made.

This movie is a blast. There are hooded villains, sliding panels, dwarfs,half humans, gorillas, weirdly shaped people and a sense of fun lacking from many movies of this type. Its a damn near perfect blueprint of how to make a movie like this. The film is also an absolute masterpiece of the directors art. I've never/rarely seen a film that is such a marriage of image and story with camera moves that pure genius. This is a film to study if you want to see how to make a movie.

The movie as it stands has two problems. First the title cards are in Italian, which makes watching it difficult if you don't read the language. I don't. Only after reading a synopsis of the entire plot was I able to really enjoy the madness that was going on on screen. The other problem is that this film is silent. I had always thought it was purely a silent film, however the entries on IMDb and my watching of the film make me think that perhaps part of this was indeed sound. There are sequences that contain a great deal of on screen talking and very little titling which lead me to think there once was more to this film than there is now.

See this movie. This is a masterpiece. Its also a lot of fun.

Now if someone like Criterion or Kino could get their hands on this and set about restoring it we'd all be so much richer.

THE STORY & GENRE -- Satanic cult kidnaps rich young man and his girl, bringing them to a house of chaos and weirdness, including menacing gorilla, helpful dwarf, and strange "wolf-man." Is it genre? Watch and see!

THE VERDICT -- This is brisk film-making, with many interesting moments and motives. To say anymore would spoil what I consider to be a great ending. Sheldon Lewis, who previously played Dr. Jekyll and Mr. Hyde (1920), is wonderful as "The Spider." Wow, Laska Winter! Thelma Todd!

FREE ONLINE -- Two versions. (1) 59-minute silent Italian print, with excellent picture, and at times with English translation of the intertitles, (2) 76-minute silent "restored" version by Serial Squadron, with actually a terrible picture but much more of it, haha, and English intertitles.