Les démons de l'esprit

I watched "Demons of the Mind" after not having seen it since it originally appeared. My memory of the film was very positive, and there are some interesting ideas in the script. However, there are an overabundance of plot elements that are presented in a haphazard and overly hysterical form by director Peter Sykes. One other reviewer here calls this a free-form narrative, but for me it was a confused jumble.

Robert Hardy plays (or overplays, as others here have noted) Count Zorn who is convinced that there is madness and other evil in his family's bloodline.

His wife had committed suicide, so he decided that he needed to lock up his children in case they started manifesting any insanity. Years later he has a controversial doctor (played by Patrick Magee in his usual mannered way) treating both grown kids (Shane Briant, Gillian Hills).

At the same time there are young women being brutally murdered in the woods and local superstitions are being whipped up, while a wandering evangelical (Michael Hordern) mutters religious dogma and joins with the locals.

A good director could have woven all these piece together nicely and provided a solid, disturbing thriller. But Sykes is more interested in whipping up a lot of intensity in each scene, which is why there's more overacting than needed and why the film winds up becoming exhausting to watch after a while. Too bad. It had the makings of a fine film. Perhaps the usual rushed schedule that Hammer Films had didn't allow for sufficient care, though screenwriter Christopher Wicking had history of penning horror films that were more interesting in concept than in execution.

There are many films like this - brilliant, thoughtful, stylish, inventive, provocative - that are largely forgotten because they were made by Hammer. Scan through the recent list of the BFI's 100 best British films, and there are very few gems like this. Apparently, its alright to reappraise Ulmer, Lewis, Fuller et al, but we British are above that kind of thing. If you ever see DEMONS, or something like THE PLAGUE OF THE ZOMBIES, on your TV listings, don't overlook it. It's always the snobs who lose out.

This is an astonishing film, a success in every way, a truly thoughtful horror film. The story concerns an aristocrat who believes his family line is infested with bad blood. He had married a peasant woman to offset this, but has instead infected the peasantry as well. He has locked up his son and daughter, and is bleeding them, to stop the rot. Meanwhile, peasant women are being raped and murdered throughout his estate.

From such a scenario, ripe for exploitation, is weaved a remarkable series of themes and variations. The film's first image is of a horse and carriage rushing through a forest, a white hand groping outside, only to be pulled back. Like THE AVENGERS, the best Hammer films revealed the horrors and insanities lurking behind placid, heritage, British rural life. On the surface is a gorgeous idyll - a beautiful Big House, a forest, grassy rivers. Beneath is incest, madness, hysteria, paganism, murder.

The house, like most horror films, is a metaphor for the mind. It is literally a prison, but also a labyrinth, mirroring the maze created by the disjointed gazes of the occupants. There are some amazing long shots of the house's inside, haunting, vastly empty, tilted - a mind off balance. The family is no longer a site of continuity and order, but discontinuity, inbreeding, misery and chaos.

But the house also shares the literary association as a figure for the state, and the poisonous madness within affects the peasantry too. They partake in pagan rituals, follow mad, gibbering priests, who offer destruction, not redemption, and become a terrifying, cross-burning lynch mob, roaming the country.

Ironically, the film is set at the beginning of the century, and Freud's contemporary attempts to throw light on the darkness of the mind is alluded to, and compared to the descent into medieval dank of the film's characters. BARRY LYNDON shares many of this film's themes, and it's hard to believe Kubrick never saw it - both feature Michael Hordern and Patrick Magee.

The creation of an actual world mirroring a psychological world is superbly realised. The two levels co-exist, intertwine, and some of the film's most extraordinary and beautiful images are visualisations of Freudian symbals and ideas. Like many great horror films, this is a family saga, but a very mature one. Its refusal to demonise adds greatly to the helplessness of the terrors. Its 'closure' is as bleak as ever Hammer dared. A masterpiece.

Hammer films had by 1972 clearly some problems coming up with new and fresh ideas. Their old style monster movies were beginning to show their age and the formula had been remade too many times (ie. Dracula AD 1972). So some experiments were made. "Captain Kronos" is one and this one another. The story moves very slowly in the beginning and what is happening is never really quite clear. The story about one family's inherited madness is intriguing but never fully developed. And those expecting some gory horror movie will be very disappointed, because for the most part, this is a rather slowmoving psychological study with added chilling elements. The biggest drawback here is the pace, which is non-existent for three-thirds of the movie. The final twenty minutes or so are more satisfying in that sense. Robert Hardy is also not a bonus, overacting like mad. But there are compensations. Other performances are very good, like Patrick Magee as the mock-psychiastrist and Gillian Hills as the young and maybe mad daughter of the family. And the basic plot IS interesting! A remake with a revision of the script might do wonders. Arthur Grant behind the camera does a great job too, contributing his usual skill and thereby making everything look more expensive than it really is. The art-director knows what he is doing too and the score by Harry Robinson is excellent (he really was an underrated filmcomposer).

A mad baron (Robert Hardy), haunted by memories of driving his wife insane, is obsessed with the "heritage of disorder" that he thinks might afflict his two grown children (Gillian Hills and Shane Briant), whom he keeps locked up in his beautiful castle home, searching for a "cure." With the help of bald manservant Klaas (Kenneth J. Warren) and stern aunt Hilda (Yvonne Mitchell), he drains their blood to keep them weak, forbids them to see each other (there's incest involved) and ignores the expert opinions of a doctor (Patrick Magee). Meanwhile, there's a rapist/murderer on the loose terrorizing a quaint neighboring village.

This psychological horror story is a fine deviation from Hammer's cycle of monster movies, highlighted by excellent period costumes and sets (especially the castle) and Christopher Wicking's provocative, complex screenplay (which resembles V.C. Andrews' FLOWERS IN THE ATTIC, written later). Only the finale, with a mob of torch-carrying villagers hunting Hardy down a la FRANKENSTEIN, really detracts from this well above par Hammer production.

Well I went into this with high expectations, but unfortunately Demons of the Mind failed to deliver. I'm a big fan of Hammer Horror, and since I've seen most of the big ones; this one has been at the top of my 'must see' for quite some time. It has to be said that Demons of the Mind represents one of Hammer's most ambitious projects, but that can't be seen as a compliment to the film as it just doesn't work. Demons of the mind does benefit from some good production values, and actually reminded me a lot of Ken Russell's The Devil's because of the way that it fuses good acting and cinematography with a purely B-movie plot. The plot is overly complicated, and focuses on a pair of children who are kept locked up by their father, a man who fears that the children may have been 'infected' by their insane mother. The boy keeps escaping, and coincidentally a lot of dead girls are turning up in the woods. The father keeps them separate as the boy is attracted to the girl, and the plot thickens when a doctor who stands to make a fortune if he can 'cure' the children turns up...

Demons of the Mind was directed by Peter Sykes, who also directed one of the studio's worst efforts in the form of To the Devil a Daughter two years later. Clearly, he is not Hammer's most adept director. The film features a handful of British horror stars - most notably Patrick Magee and Shane Briant, both for different reasons. Magee is one of the most underrated and unique British horror actors, and he always manages to increase the credibility of anything he stars in - even if it is something like this. Briant, on the other hand, starred in a handful of Hammer Horror flicks during the early seventies and failed to make much of an impression after the first one. Briant was noticeable in Straight on till Morning for his ridiculous haircut, but since then failed to make an impression. The film really lacks what Hammer's big guns bring to the table - Cushing and Lee are sorely missed. The plot mumbles along for most of the duration, and by the end I wasn't too bothered what happened. I can give this film plaudits for the production values and for some notable sequences - but overall, Demons of the Mind isn't one of Hammer's finest hours.