L'Ombre de Satan

I had never heard of this one when it was announced as part of the revived "Midnite Movies" line of DVD releases paired with the renowned WITCHCRAFT (1964); frankly, I was disappointed that this obscure title was chosen over, say, NIGHT OF THE EAGLE (1962) which would have been the ideal companion to Don Sharp's film. In any case, it did seem rather intriguing from the colorful stills posted on Internet sites which reviewed the disc(s) but, all in all, it emerged as pretty goofy, with risible accents and several instances of wildly dated 60s modishness; in fact, an unexpected degree of camp is present in the lengthy pre-credits gypsy dance sequence, when depicting the 'degenerate' lifestyle of a group of ostensible bohemians (read bitchy lesbians and buffoonish, tipsy gentlemen) and the climactic Satanic ceremony!

The narrative, then, provides an unholy mishmash – with little rhyme or reason – of popular horror themes: vampirism, witchcraft and, most bafflingly, body-snatching are all called upon by the oddly female screenwriter. Clearly, this was made by people with no proper knowledge of genre convention: consequently, the end result is aloof and forgettable, if undeniably good-looking (particularly prevalent are the vivid, velvet robes sported by the Satanists) and eminently watchable; in essence, this lies somewhere between the generic output of Hammer and AIP. Predictably, most of the characters initially skeptical author William Sylvester comes into contact with turn out to be members of the devil/vampire cult. In the same vein (pardon the pun!), the police inspector investigating the various mysterious deaths and disappearances starts off as hostile but gradually becomes sympathetic – not to mention, a believer in the supernatural! Unfortunately, the film's slow-moving 88 minutes (misprinted as an even heftier 124 on the DVD back cover!) are capped by a rushed and altogether weak climax.

Sylvester makes for a likable if wooden lead; he had already appeared in another notable horror film DEVIL DOLL (1964) and would later feature in 2001: A SPACE ODYSSEY (1968). Hubert Noel, though lacking most of the qualities one typically associates with a bloodsucker (not that "Le Comte Sinistre" sees much action in this respect – since all he seems concerned about is to recover his precious talisman!), along with Carole Gray (as the intended gypsy bride of the vampire who, for whatever reason, is jilted by him in favor of the former!), make a rather arresting pair of villains. The belatedly-introduced Tracy Reed is a striking, redheaded heroine – she is Carol Reed's niece, Oliver Reed's cousin and director Anthony Pelissier's daughter, and is best-known for portraying George C. Scott's bikini-clad secretary in DR. STRANGELOVE (1964)! Curiously enough, as I lay watching, I pondered on how it would have effected the film had Gray and Reed exchanged roles...

This film is not grand but it's not down right horrible either - it's an in-between film - one of those movies you don't mind watching if there is not a lot on TV or you are just in the mood for something different to watch.

You can easily pass this one by without missing anything but if you do decide to watch it don't expect a lot from it. It's mildly entertaining. Watch it if you really want to see another film on the occult / witchcraft - otherwise you can pass it by.

I'm not downing this film - I found it a a bit enjoyable but there are much better films to watch and re-watch on the market.

5/10

I enjoyed the movie immensely. I had wanted to see it since I was a kid having read about it in SHRIEK! a short lived British horror movie mag.

so, 35 years later I finally get to see it and I was not disappointed. It's not a great film, but it certainly shines above many of the horror films that were churned out during the same era (a la Blood of the Vampire 1958). The atmosphere and mood of the film is just right.

The only truly annoying thing about the film to me was the beatnik-style music.

Yes, it is a Hammer knockoff, but it was one of the better ones. (Even the later Hammer films were "Hammer knockoffs.")

I say give it a chance! If you don't you will not know what you are missing.

Nobody in their right mind would say that "Devils of Darkness" was a good film but this little known British vampire flic possesses its own charms even if they do belong to the 'so-bad-it's-good' variety. After an interminable pre-credit sequence in which a rubber bat bites bride-to-be Carole Gray, only to have sinister Count Sinistre resurrect her from her tomb, we cut to the chase when on All Soul's Night the so-called Devils of Darkness rise again. Yes, it's terrible in an am-dram kind of way and it does have some of the worst scenes of vampirism ever committed to film but as bad movies go it's still a lot of fun even if actors who should have know better do make fools of themselves. At least the gifted French actor Hubert-Noel does make Count Sinistre a sexy and suave vampire lending the film a very slight touch of class.

Devils of Darkness has a promising sounding title, it's British and it has the typical 60's gothic theme. Yet, it quickly got ignored over the years and it's rarely ever mentioned. Probably because it wasn't made by either of the 3 biggest production companies in that time. The Brit horror industry was ruled by Hammer, Amicus or Tigon and (almost) all their production received cult followings and critics attention. Of course, that can't be the only reason because a good film would be remembered no matter who produced it. Devils of Darkness is anonymous in all fields… Not one aspect in the entire film is worth remembering. It mixes vampirism with other occult elements. A satanic cult, led by Count Sinistre, kidnaps innocent people in order to sacrifice them. An author tries to reveal the secrets and comes into contact with the leader. Devils of Darkness has an extremely promising opening sequence (even before the credits are presented) and the hope you'll see a intriguing occult horror film is falsely raised. After the atmospheric opening, the film quickly falls into boredom with endless speeches and tedious characters. The tension is pretty much non-existent and the few promising horror sequences are too succinct. The beautifully shot cult rites seem to be inspired by Roger Corman's the Masque of the Red Death, but still they're the only sequences worth mentioning. The cast isn't very spectacular, neither. Carol Gray is worth a mention since her beauty reminded me about the typical Hammer sirens. Hubert Noël, the bad guy with a dreadful French accent, is too untalented to make the film memorable and so is director Lance Comfort.