Incubus

A very weird, quietly creepy horror film... I think a big chunk of the weirdness and creepiness goes down to the fact that the film is entirely in Esperanto (and also the bit with the goat).

Put together by Outer Limits staffers (who were apparently obsessed with artificial languages), the production values are not dissimilar to 50s/60s TV (the odd camera shadow, out of focus evil beings, etc), but the effects are strangely effective and the use of sound is genuinely creepy in a way that made me think of "Eraserhead".

This film is worth seeing if for no other reason than to see William Shatner overacting in Esperanto. Most of the film he keeps the overacting in check, but about an hour in he clearly can't help himself.

I give this film high marks specifically because of its originality. Incubus is a truly unique art film. Do not watch it as you would watch most films. Most of the people who dis this film are illogically comparing it with mainstream films.

If you like Shatner's early work (e.g., Twighlight Zone), you'll like him in Incubus. The rest of the actors do a generally good job, too.

If you know Esperanto, I warn you, the Esperanto in this film is horrible. It is my understanding that the director did not want the dialogue to be understood. Each member of the cast trips over a few lines here and there, sometimes so badly that it should be obvious even to those who don't know Esperanto. The funniest thing is that Shatner pronounces Esperanto with a somewhat French accent and he pauses just like he does in English.

(La ideo, ke Esperanto aperas en la filmo varbas; tamen, la esperantoparolado mem en la filmo ja acxas.)

If you don't know Esperanto, do not watch this film for the Esperanto dialogue. It's not a good sample.

Everbody, watch Incubus if you like creepy, experimental art films.

It's tempting to jokingly call this the best William Shatner movie in Esperanto I've ever seen, but it deserves better than that - it's a delightfully weird low-budget horror film that might best be described as "Ingmar Bergman Meets `The Outer Limits.'" The reference to the 60s TV series is apt, since several of the creative forces from that show were behind this film: writer-director Leslie Stevens; future Oscar-winning cinematographer Conrad L. Hall, and composer Dominic Frontiere (although I suspect they simply borrowed his "Outer Limits" themes to score this film). In fact, "Incubus" looks, sounds and feels so much like an episode of the "The Outer Limits," there were times I half-expected it to fade to commercial; a flash of nudity reminds us this isn't a TV show.

In "Incubus," a seductive female demon - a succubus - named Kia becomes bored with luring morally corrupt men to their eternal doom and sets her sights on a virtuous soldier named Marc, played by a pre-"Star Trek" Shatner (who guest-starred in an "Outer Limits" episode titled "Cold Hands, Warm Heart"). The bucolic out-of-time setting reminds me of the medieval Sweden of Bergman's "The Seventh Seal," and Hall's black & white cinematography is starkly beautiful. The Esperanto dialogue lends an exotic flavor with its vaguely recognizable European word roots. It also dresses up dialogue that might have been too over-the-top in English (in his DVD commentary, Shatner can't help chuckling when Kia declares, "There are no heroes burning in the fires of Hell!"). I'm reminded of the old joke that a movie seems more "artistic" if it's in a foreign language with subtitles - I guess Esperanto, originally intended to be a universal language, effectively makes "Incubus" a "foreign film" to just about everyone.

Shatner, as the young, handsome, dashing hero, is unmistakably Shatner, even in Esperanto. Allyson Ames is frostily beautiful as the evil Kia, while Ann Atmar is sweetly vulnerable as Marc's sister, Arndis.

I don't mean to over-praise "Incubus." It's a very well done little film, comparable to the original "Carnival of Souls" - if you don't expect too much, you may be pleasantly surprised at how much there is. It's definitely worth a look.

Writer/Director Leslie Stevens was previously best-known as the man behind the TV series "The Outer Limits", and it shows. Everything about this film is moody, atmospheric and vaguely threatening, while still tinged with beauty. The real surprise is that "Incubus" is much better than just an extended Outer Limits.

Shot in Big Sur on the central California coast in just two weeks and under a very small budget, the film more than makes up for those limitations with an imaginative script, fantastic visuals and well-nuanced acting. William Shatner gives what I consider to be the most subtle, unmannered performance of his career as the protagonist -- a weary, wounded soldier. The succubus who aims to cause his downfall is more than ably portrayed by Allyson Ames, who would've been quite at home in any Bergman film.

Bergman is, in fact, a reference point, with a few scenes obviously inspired by "Persona", "The Seventh Seal" and perhaps "Wild Strawberries". Other influences seem to be some of Kurosawa's early work and even Greek tragedies.

Many people consider the fact that every bit of dialogue (and even the credits) were in the Esperanto language, to be merely a gimmick. In fact, it was an inspired decision, and makes the film independent of time and place; perfectly complimenting the otherworldly mood. Most of the actors do quite well with it, and after a few minutes it sounds natural, and a bit like a cross between Swedish and Latin.

There are a few niggling problems: the actress who portrays the older succubus has a terrible declaimatory style, there are occasionally irrational plot turns, and worse -- the obtrusive subtitles that block out a large swath of the screen. This was necessitated by the fact that only one print of the film survived, and it had had French subtitles printed on it. When the print was rediscovered, director Stevens had to restore it for English-speaking audiences by blocking English subtitles over the top of the French!

I must mention the score, by Outer Limits composer Dominic Frontiere, which perfectly compliments the film. Conrad Hall's cinematography is at times breathtaking -- especially in one scene where Shatner wanders through a field by moonlight, the grasses swirling around him.

The film's denouement stays just on the better side of moralizing and manages to avoid heavy-handed Christian references. Indeed, the statues of Jesus, Mary and various saints in the village chapel seem just as threatening as the demons outside.

Although not quite as morally ambiguous as "The Wicker Man" (and probably shot for 1/10 the budget and in 1/10th the time), Incubus nevertheless is one of my favorite "horror" films of the 1960s, and well worth viewing. By the way, I disagree with the other poster suggested that Incubus is best viewed in a large group. I suggest that the intimate scale of this film works best when watched alone on a rainy night. Prepare to be frightened, disturbed and surprised.

A macabre footnote: within a year, both the actress who portrayed Shatner's sister and the actor who played the incubus would commit suicide.

It is correct to compare this independent, low-budget, black-and-white atmospheric horror film with others of its decade, such as "Carnival of Souls" and "Night Tide," and it's also correct to compare it with Bergman, since there is clearly a touch of "Seventh Seal" here and possibly a bit of "Virgin Spring" and "The Devil's Eye." But I'd like to point this out: the most obvious comparison people make is with "Persona" because of the strikingly composed "sister" shots, which evoke the famous profile compositions of Bergman's movie, yet "Persona" was made a year later, in 1966! ("Hour of the Wolf" was made three years later, in 1968.) Therefore, while we can say Leslie Stevens and Conrad Hall were influenced by Bergman, it's also reasonable to suppose that since this film played at the Venice Film Festival, Bergman might have been influenced by "Incubus"!

The awkward moments--I'm thinking especially of the last scene--create a rare accident that only occurs in low-budget films. The effects are so obvious and ludicrous that you're half-inclined to ridicule the scene with an "Oh, come on!" Yet at the same time, what it's trying to get across is so inherently disturbing that you also feel the frisson of real horror. It's a kind of accidental alienation effect. This state of conflict in the viewer's mind--half pitched out of the spell and rejecting what we see for what we know, and half shocked into ghastly conviction--this frame of mind is where is the uncanny takes effect.