Les démons

Les Demons (1972)

** (out of 4)

101m. Director's Cut

A witch is burned at the stake and swears her daughters will seek revenge for her death. This is a rather disappointing effort from director Jess Franco. The film is too slow and it seems the director doesn't know if he wants to make a straight witch film or a sexploitation film dealing with lesbian nuns and various other beautiful women. The score doesn't help matters either. However, seeing lesbian nuns in action is a reason to check it out. There are at least nine versions of this film out there.

The DVD set I have contains two other versions but this one here is a 2003 edit by Franco.

The film is an inferior follow-up, regarding a vicious witch-hunter who terrorizes , judges and executes to suspicious villagers. Lord Chief Justice Judge Jeffries (Cihangir Gaffari) of seventeenth century England condemns women as witches to further his political and sexual needs and while in the dungeons takes place brutal tortures executed by his nasty verdugo. The condemned prisoners approach the judge for clemency but are rejected when they don't give in to the lust of the judge . A witch is tied to a pole, as the scarlet flames lick her pale and desperate face while the feeble body is eager to succumb, the vindictive unrepentant witch doomed by the Grand Inquisitor Jeffries and Lady de Winter to die at the stake vomits her last malignant and sulphurous curse to all those guilty of her ordeal. But within the nunnery's thick stone walls, rabid desire and evil possession govern, the burnt witch utters her last words: a death curse against her accusers: Lord (Alberto Dalbés) and Lady DeWinter (Karin Field) to be carried out by her daughters. Terrified by the curse, they set out on a search for the witch's heirs and they meet them to be nuns (Anne Libert, Britt Nichols) and in particular, Kathleen and Margaret who have been raised as Sisters in the Blackmoor convent since childhood. Only one daughter has ¨The Kiss of Death¨. Only one daughter has the power to avenge her mother's death. Which one is granted the power of vendetta? Let the Exorcist Beware, the Demons are Here! Their Lips are Divine but the Kiss is Deadly. They are Sisters with Spirit... Divine and Deadly. Erotic horror... Torture... Witchcraft. Horror will hold you helpless!

This 'Les démons' (1973) is one kind of sequel to ' The Bloody Judge' or 'Night of the Blood Monster' or Il trono di fuoco (original title) (1970) deals with a graphic delineation of witch-hunting in England, that's why the story recycles roles, history, and incidents from that film shot three years earlier. Here there's a fired witch, as a result, petrified and with the curse of demise upon the accusers' heads, Lord and Lady de Winter set out to trace the witch's dark bloodline, during the Monmouth rebellion period and overthrowing King James II and subsequently William of Orange taking his place. This film has been framed of painting too violent and bloody a picture of the old times, but its power is slightly remarkable and strongly sordid. The production values is mediocre considering its short budget. There're also some scenes dealing with British historical events, along with a lot of sleaziness, images of naked women and others submitted to cruel tortures . It is a twisted tale of strange desires , betrayals , perverse pleasures , prurient men and corruption. Cihangir Gaffari takes the role of Christopher Lee as Lord Justice Jeffries, giving obviously a worst acting. The Judge Jeffries role was real, in fact he was a nasty witch finder who condemned women as witches and rebels as traitors, while unleashing a reign of fire and fury. Co-stars two ravishing beauties: Anne Libert and Britt Nichols. And outstanding Karin Field as the wicked Lady De Winter, along with Franco's regular Alberto Dalbés as Thomas Renfield. And another Franco usual: Howard Vernon, overacting , as always. Being a Spanish/French production , there're Spaniard actors appearing here and there: Carmen Yazalde, Luis Barboo, Alberto Dalbés, Rosa Palomar and French ones: Anne Libert, Doris Thomas, Andrea Montchal. Special mention for the colorful cinematography by Raúl Artigot , in a luxurious copy adequately remastered , shot on location in Portugal and Castillo de Santa Bárbara, Alicante, Comunidad Valenciana.

The motion picture was middlingly directed by the prolific Spanish filmmaker Jesús Franco or Jess Frank. Most people agreed that some Frank's works resulted to be acceptable , but most of them were botcher films. Jess was a Stajanovist, restless writer, producer, director who realized over 200 pictures. His career spans over 50 years with a few successes and lots of flops, making all kind of genres : thrillers, adventures, action and with penchant for Terror and erotic genre . Jesus used to sign under pseudonym, among the aliases he used apart from Jess Frank or Franco Manera, were the following ones : Frank Hollman, Clifford Brown, David Khune, James P. Johnson, David Though, among others. Franco used to use ordinary trademarks, such as : zooms , nudism, foreground on objects , filmmaking in DIY style and managing to work extraordinarily quick in very low budget, as well as frequently releasing various titles at the same time. He was a prolific filmmaker, directing a lot of lousy movies. In his beginnings he soon applied all his knowledge and experience as director assstant, musician, editor to his feature directorial debut, Tenemos 18 años (1959). His Succubus (1968) was nominated for the Festival of Berlin, and this event gave him an international reputation. His career got more and more consolidated in the following years, and his endless creativity enabled him to tackle films in all genres, from "B" horror films to pure hardcore sex films. However, making some passable films, such as : We are 18 years old, The awful Dr Orloff, The Bloody Judge , Count Dracula, 99 women, The Blood of Fumanchu, Faceless and a few others. And many of them were heavily cut and with double versions. Rating : 4/10. Inferior and below average exploitation movie. Only for Jess Frank completists.

Review of the edited U.S. Version

This is a Franco film I had been longing to watch for various reasons: its being a sequel of sorts to Franco's own THE BLOODY JUDGE (1970), as well as the fact that the film was probably made as a direct response to Ken Russell's THE DEVILS (1971) – not that, in retrospect, there is much similarity between the two!

Well, my first reaction to it was one of disappointment, in essence due to too much insistence on pointless sex scenes and too little real period flavor; I can understand that Franco had only a miniscule budget to work from and, of course, I've only watched the heavily-cut 79-minute English version (with superimposed Dutch and French subtitles, and pathetic framing to boot!) – so who knows if the full-length 116-minute version is a significantly better film (certainly a lot more coherent, I presume)? Actually, the comparisons made by Brad Stevens on the 'Mondo Erotico' website between all existing versions of this film (and, more importantly, describing just how many shots are missing from what I saw) is depressing indeed!

While I certainly find great faults with THE BLOODY JUDGE (about which I've expounded upon in my review on this Forum), and even if I do concede that THE DEMONS is a more personal take on the matter on Franco's part, I cannot say that I prefer it in any way; then again, I'm disadvantaged because I've only watched the former through Blue Underground's 'definitive' cut on a stunningly-restored SE DVD! To go back to my dissatisfaction with the film, i.e. the sex angle: a measure of just how gratuitous the nudity is, for example, is in the successive footage of Kathleen (played by Franco regular Anne Libert) and the Mother Superior masturbating (the latter aroused herself by having spied on the former!). I'm not against the concept behind the scene itself (as I presume it would be only too natural in such a repressive environment as that of a convent!), but simply the fact that we have to go through the exact same motions in such a short time; if Franco had only suggested that the Mother Superior was going to 'emulate' Kathleen, it would have had a far greater impact, in my opinion. Of course, later on, we need to watch Britt Nichols have a go at it as well (not that I regret it in the least, mind you)! Actually, the film definitely had potential, and I tend to agree with the following statement by Dave Wood, lifted from his 'Mondo Erotico' review of THE DEMONS: 'It's a shame Franco couldn't have made a stronger link between the archaic, sadistic practice of witch hunting with the enlightened period of scientific discovery.' (Instead, the film prefers to wallow in its own 'sensationalism' which is not like we've never seen it done before, and better too!) The music score too, while quite a good listen on its own, is totally inappropriate with the mood the film seems to be aiming at!

The cast does what it can with the material, though I'm sure they all knew what they were in for from the beginning (unlike Christopher Lee in THE BLOODY JUDGE, apparently):

· although Anne Libert (who bravely faces up to her countless torture scenes throughout the film) is the true protagonist here, I was more intrigued by the supernatural sub-plot (the introduction of the devil-figure is especially well done) involving her sister Britt Nichols' 'demonic' revenge on their tormentors (one of them Kathleen's own lover, hilariously called Renfield – Thomas Renfield?!)

· Karin Field as Lady De Winter is an appropriately authoritarian figure, but who counts intimate S&M sessions and lesbian grapplings among her 'divertissements' (the latter scene which she shares with Britt Nichols, where Margaret openly laughs at Lady De Winter's seduction of her, as though winking at the audience and saying 'Here we go again!' is perhaps an unwitting commentary on the very 'concept' of the film and, in retrospect, Franco's general obsession with sex!); still, it's inconceivable – to say nothing of hysterically funny – that the aristocrat would recognize the disguised Margaret, as one of two novices she had sexually scrutinized back at the convent near the beginning of the film, not by her beautiful face but rather by her private parts (which she describes as 'a sight not easily forgotten', or words to that effect)!

· Howard Vernon is good as always as the 'star-gazer' who doubles as a political activist (and, unknowingly, also has a few skeletons of a different sort hanging around in his closet!) though, regrettably, he is too often relegated to the sidelines

· Cihangir Gaffari, aka John Foster, cuts a rather dashing, but undeniably mean-spirited, figure as Judge Jeffreys (more in tune with Franco's conception, I guess, than the solemn 'n' stiff Chris Lee) but, again, he is given relatively little to do…and doesn't the director contradict himself here by allowing him to be present during some of the torture scenes; where is the great 'I never knew…' line from THE BLOODY JUDGE, now?!

The 'kiss of death' given by Britt Nichols to each of the three persons responsible for her and Libert's mother's death and which turns them into skeletons is rather laughable, too – surely, Franco could have thought of a more 'realistic' way of dispatching his 'villains'?; at the very least, for it to be effective, we should have first seen them rotting away…but I guess the budget didn't extend to taking care of the special effects! Though the film seems to be leading towards a tragic ending of sorts (Nichols 'forced' to kill her sister's lover and for this being 'turned in' by her own sibling), it never quite manages to move us in this way, partly due to the overall amateurishness (and anything-goes mood) of the production! I was also baffled by the film's final image (the re-appearance of the 'Bride of Satan to take 'possession' of the Anne Libert character), but then Francesco Cesari explained to me that it's likely the 'conversion' of the good and sweet Kathleen (think De Sade's Justine) to the 'philosophy' adopted by her sister Margaret (replacing Juliette in Sade) and, in that context, I must say that it makes a hell of a lot more sense!

At this stage, I'm not sure whether I'll go for X-Rated's upcoming SE DVD (that will include three different versions of the film, all of them longer than the one I saw) – a lot will depend on the price – but I'd certainly love to be able to re-evaluate it by watching THE DEMONS in its proper form…

Review of the Director's Cut

Rather than formulate another full-blown review, somewhat belatedly here are a few points I jotted down after viewing the Director's Cut of LES DEMONS via X-Rated Kult's 2-DVD Set:

· Has resulted in a reassessment (of sorts) of the film, as this version is a considerable improvement on the disappointing and incoherent U.S. edit: the widescreen photography gave the film a really sumptuous look

· The soundtrack alternating between English and unsubtitled French (which obviously sounded far more natural) didn't bother me: in fact, I'll be watching it again somewhere down the line by way of the Extended Version

· Apart from the French-language sequences which are obviously new to me, I appreciated some of the extended scenes featured in the Director's Cut, notably Britt Nichols' rape by the demon (which is a lot more satisfyingly presented than in the shorter version) and the 'kiss of death' moments where I was glad to be proven wrong: in my review of the film I had written 'The 'kiss of death' given by Britt Nichols to each of the three persons responsible for her and Libert's mother's death and which turns them into skeletons is rather laughable, too – surely, Franco could have thought of a more 'realistic' way of dispatching his 'villains'?; at the very least, for it to be effective, we should have first seen them rotting away…but I guess the budget didn't extend to taking care of the special effects!' and, lo and behold, now we get Karin Field dissolving into a skeleton and smoke coming out of Alberto Dalbes' hair, as a sign of gradual disintegration, prior to his own demise; as far as I could tell, however, Judge Jeffreys' death was the same as before

· But then I was happy to see other sequences go: Doris Thomas' overlong masturbation scene (again note my comments from the review: 'a measure of just how gratuitous the nudity is, for example, is in the successive footage of Kathleen [played by Franco regular Anne Libert] and the Mother Superior masturbating [the latter aroused herself by having spied on the former!]'); the silly S&M session between Field and Dalbes; and the extended torture sequences – all of which had bothered me the first time around, so I'm pleased to learn that Franco had shared my feelings about them all along!

· Ultimately, I wouldn't consider the film to be one of his greater achievements, even in this guise – the film MAY look great but Franco's direction is as awkward as ever: note the scene where Karin Field orders Luis Barboo to kill the two guards, bribed by Howard Vernon, to allow Anne Libert to escape – they just stand there waiting for him to run them through with his sword!; or Jeffreys' death scene, already pointed out by someone else here – the 'audience' gives no reaction whatsoever to his supernatural demise but, then, when Britt Nichols puts a curse of them, they back away in terror!!

· The video transfer was pretty good but I was most distressed by the soundtrack of the English-language version: it contained numerous audio drop-outs which go on for several seconds, sometimes effecting the dialogue itself; can someone tell me if it's the same in all the various versions?

· Still, even if the film scores a few points over THE BLOODY JUDGE (1970) – especially by taking the viewpoint of the witches rather than that of the witch-hunter – I'm still inclined to prefer the latter (which I also re-evaluated somewhat because of it) by virtue of its more polished production, the cast and, of course, its remarkable if somewhat incongruous S&M sequences

If you know anything about Jess Franco films or the genre of Nunsploitation you should know what you're in for. Medieval period film, accusations of witchcraft, demonic possession, nuns going crazy in a convent. You know, weird stuff like that. Jess Franco was quick to cash in on the success and controversy of Ken Russel's The Devils and made his own Inquisition horror film The Devils (aka Les Demons) Franco style.

While being burned at the stake, an accused witch curses the principal witchfinder and his minions. While this happens very, very slowly members of the royalty and religious establishment are caused to suffer and they also take pleasure in a series of their own sexual desires, torture and demonic possession by the witch's daughter Margaret. How Margaret becomes bewitched will unfold as you watch the film. As you already know (assuming you've seen Franco films before) Jess made very slow paced often sexually delirious, hypnotic dreamlike films with amazing visuals and music scores as is with The Demons. His films are often loved or hated by the b-movie cult community. I happen to like Franco films very much from all decades of his film career. Especially his output during 68-75. The man was making feature films at a furious pace. Some good, many well... not so good and at the height of his creative powers. He also had more and more freedom as the 70's moved along as censorship loosened in Europe giving him more freedom to create his own genre of film making. Zooms, close ups of butts, vaginal pubic hair, statues and buildings. His music scores, sometimes often overshadow the movie itself and deserve proper vinyl release. The Demons is an essential and often overlooked film of the demonically possessed nun genre and just a fun Euro-cult movie to watch. Like I mentioned above, everything from the music score to the delirious and wild sex scenes is all classic Franco from his most creative output post Soledad Miranda period in this film. If you're looking for a masterpiece of cult cinema Jess Franco's The Demons isn't the one for you, but if you are a true sicko like me and are looking for some of the most wild, delirious, sexually depraved gems of underground cult film making this film will give you a run for your money. I often tell people Jess Franco was the Marquis de Sade of Cinema. Many of his films capture the depravity of the Marquis works in so many of his movies. I give this film an 8/10 because for a Franco film this is actually a very well made low-budget demonic nun sleaze fest.

A witch curses her executioners while being burned at the stake. Nearby, a convent is suddenly besieged by impure thoughts, deeds, and general naughtiness. Unclean spirits have taken hold of the sisters therein, resulting in wanton, wicked nakedness.

THE DEMONS is a Jess Franco film, so it's not surprising that the nuns have lost their habits. There is indeed copious female nudity, as well as perverse situations and gory torture.

Though Franco's depiction has taken a lot of flack, just what would we expect to happen in a demonized nunnery, anyway? Square dance night?

WARNING: This film contains the infamous "virginity check" and "bride of Satan" sequences!

Those accustomed to the Director's work should definitely enjoy this movie. Others might want to watch something a tad less blasphemous...