Satan's Slave

SATAN'S SLAVE

Aspect ratio: 2.39:1 (Techniscope)

Sound format: Mono

While visiting her uncle's country estate, a young girl (Candace Glendenning) becomes involved with satanists who believe she's the reincarnation of an ancient witch.

A key work from cult director Norman J. Warren (TERROR, INSEMINOID), SATAN'S SLAVE combines gratuitous nudity and horrific violence in a censor-baiting concoction designed to compete with the gore and cynicism of its contemporary American/European counterparts. Tellingly, SATAN'S SLAVE was written by David McGillivray, a film critic-turned-scriptwriter whose collaboration with another Brit maverick (Pete Walker) resulted in some of the most memorable exploitation movies of the 1970's, including HOUSE OF WHIPCORD and FRIGHTMARE (both 1974). McGillivray's scripts were always distinguished by their tongue-in-cheek attitude and gleeful subversion of accepted morés, and SATAN'S SLAVE is no exception. Sadly, despite its lip-smacking excesses, the movie is a disappointment.

In fact, much of the film's problems can be traced directly to McGillivray's screenplay, a skeletal mixture of witchcraft and paranoia, driven by dialogue rather than action, which coasts along on auto-pilot in between bouts of skin and sadism. Cast for her waif-like beauty and startling blue eyes, Glendenning (in what appears to have been her final appearance in a theatrical feature) fits the bill as a stereotypical heroine, but she emerges as little more than a colourless wimp, and her one-note performance is a liability. Second-billed Martin Potter gives an equally lacklustre performance as Glendenning's cousin, a psychopathic brute who subjects a pretty young girl (Gloria Walker) to a terrifying ordeal in the opening sequence (more of which later), before turning up as a resident in the home of Glendenning's enigmatic uncle, played by Michael Gough. SATAN'S SLAVE may not have been Gough's finest hour, but he rises to the occasion with predictable flair, delivering his fruity dialogue with Shakespearean relish and acting everyone else off the screen; his obvious talent and lack of pretension has earned him the devotion of cult movie fans worldwide, and with good reason.

Warren uses the widescreen format to visualise the gulf between the characters, and to exploit the landscape and décor of Gough's isolated residence. In fact, the film's threadbare production values are clearly bolstered by its primary location, a Gothic-style mansion located within the Surrey countryside, filmed in all its autumnal splendour. But the movie's rough-edged beauty is frequently tempered by scenes of horror and brutality, visited mostly on female characters who are often stripped naked before suffering the kind of cruel indignities which characterised exploitation cinema of the period. The downbeat ending is also typical of the era, though die-hard horror fans will guess the outcome long before the on-screen characters.

During post-production, Warren was asked to beef up the sleaze quotient for a number of European and Asian markets, so the director prepared a variant edition at odds with his original vision: The rough foreplay between Potter and Walker in the opening sequence (preceding Walker's murder) was extended by having the killer run a pair of scissors over his victim's naked body (the original version develops in a different way and features alternative dialogue, which means the 'new' material can't simply be edited back into the print), and a brief flashback was added to a later scene, in which Potter is seen stabbing an unidentified woman to death. The BBC dispatched a film crew to cover the production for a documentary entitled "All You Need is Blood: The Making of SATAN'S SLAVE", which they subsequently refused to show, though it has since been issued on video.

This is not as bad as it seems, but it could have been a lot better. The story is intriguing and could have been made something interesting out of, but as it is, the insufficient acting and script get muddled up in a confused cinematography that puts more effort on effects, sex and bloody gore than on making the story and its characters understandable. The film lacks clarity and gets lost in its efforts to express the inexpressible in a manner not to activate censorship. The only real actor here is Michael Gough, who appeared in many films like this, mostly absurd ones, and always made a more comical impression than what his characters was supposed to be, as if he as an evil inhuman freak rather actually should have been a clown.

"Satan's Slave" sure was a pleasant surprise, since I went into it with not a lot of expectations (back in 2007, on a first time DVD viewing). Before this one, I had previously seen one other Norman J. Warren effort, namely "Inseminoid" (what I would describe as a dubious "Alien" rip-off with a bit of an early Cronenberg-vibe to it). But never mind that one.

"Satan's Slave" moves at a rather slow pace, but I didn't hold that against it (movies from different eras usually have a different pace to them anyway). A gorgeous leading lady witnesses her parents dying in a car crash. She is kept at her uncle's mansion to recuperate. Uncle and nephew have rather sinister plans with her.

"Satan's Slave" is not exactly a 'satanic worshiping cult' movie, but more a macabre tale of reincarnation. Lots of 70's female nudity, some torture, some sacrifices, some nice atmospheric looking scenery surrounding the mansion and a few nasty & gory make-up effects. The make-up was handled rather well also, given the budget available. And we have a nice twist at the end, wrapping things up.

By now I have seen all of Norman J. Warren's horror films - even became a bit of a fan of the man - and I think his "Satan's Slave" still ranks up there as my favorite. Followed by the aforementioned "Inseminoid" (something most people can't really grasp, since it's usually to be found at the bottom of their list with Norman J. Warren favorites).

I got this movie in a pack of twelve movies called gore house classics or something. I figured they would all be total crap, but as I like watching horror movies and reviewing them I had to buy it, especially seeing as how I had never seen any of the movies on it. This is the first one I have watched on it and while not a good movie by any means it had its moments and did entertain me for its run. The movie does have gore in it, nothing that looks all that great at times, but it is the 70's, a time for the red paint to come splashing out. It also had a good deal of nudity too, I always enjoy seeing 70's ladies nude from time to time as they have a natural look that is just hard to find these days. The story has its moments as I really enjoyed the beginning of the movie and the end quite a bit. It is the middle that at times muddles the movie down as there is a strange love story going on between the female of this tale and her cousin that really seems to be added to pad the film. Basically, she is visiting this uncle that until recently she did not even know she had and there is tragedy shortly after she arrives with her parents. The rest of the film is watching her try to figure out and realize what you the audience already knows, she is in deep trouble. So while not great it was entertaining, rework the script a bit and this one could have been a classic. Though Michael Gough's performance in this one does help the more talkative scenes seem more tolerable.

This is actually quite a bright spot in the late 70's Brit Horror Film Industry breathing its last few gasps. It comes in a few different versions, some bloodier and sexier than others. It actually works in either the softer or hotter versions. The grue-- including a nude woman threatened with scissors, a head crushed in a door, a gory fall of a ledge, a woman slashed with a jagged piece of glass, and a nail driven into an eye-- is lively, but the central story about the traumatized heroine being cared for by her malevolent uncle and his murderous son is strong enough to stand on its own. There are also the expected scenes of black mass and nude female worshipers. The film plays nicely on our expectations and manages to surprise. With all the garish colors and hazy turn of events, we're never quite certain if everyone is off their rocker, the heroine especially possibly going off on some flight of fantasy triggered by the accident and exacerbated by the legend of the ancestress witch. Plus, characters you expect to play a pivotal role die suddenly, it's hard to tell who is trustworthy and who isn't, and Martin Potter as the cousin vacillates so perfectly between being a morose companion to the girl and a frenzied monster to everyone else that I found myself just as lulled in by him. The violent scenes are shocking and unpredictable, while the talkier sequences have a weirdly cold atmosphere to them. For me, this one gets unfairly written off far too often.