La Torture

During the 1970's, following the success of Michael Reeves "Witchfinder General", the original "Mark of the Devil" and perhaps Jess Francos sleaze-fest "The Bloody Judge", there was a hype about films involving the torture and killing of witches.

However, the hype didn't live long, producers figuring that you can only torture, rack and burn a witch so many times before the audience gets bored and interest soon faded and "Mark of the Devil 2" (the original German title translating loosely as "Witches: Defiled and tortured to death") could not cash into the success of it's predecessors.

It may not only have been the end of a hype that doomed the film but the production itself: Director Adrian Hoven and his crew were veterans of so-called Folk-movies, which meant that they knew how to shoot a handsome scenario but didn't have a clue how to film a dark, gloomy and misanthropic film like "Mark of the Devil" – let alone, how to film grizzling scenes of torture and inquisition. The torture scenes are lame, the subplot drags on and about halfway through the film, the viewer wonders why he's even bothering to follow up the story.

Second problem is the cast: it's enjoyable to see the return of Nalder (whom the US-audience probably know best as vampire Mr. Barloff in Stephen Kings "Salems Lot") and Johannes Buzalski (a veteran of Germany's sleazy-raunchy sex comedies), returning to their roles in "Mark of the Devil" in all but name. However, there is no Herbert Lom, no Udo Kier, Herbert Fux or Olivera Katarina that would supply charm and charisma. Both protagonists and antagonists come across as pale, stiff, indeed, wooden and invoke none of the sympathy or disdain that the original cast invoked.

Perhaps completists need it in their collection but if you really want to know what all the fuss about the "Witchhunter movies" was all about – and it wasn't so much, compared to modern gore-fests like "Saw" or "Hostel" – then stick to the original films mentioned and give "Mark of the Devil 2" a pass.

4 out of 10 points and that is being generous.

Although a blatant rip-off of "Witchfinder General", the original "Mark of the Devil" is easily one of the greatest European exploitation movies ever made. The sequel, however, is one of the worst. I can't even properly explain what went wrong, since all the ingredients for a fierce and shocking exploitation hit are there, but somehow "Mark of the Devil 2" became the lamest and dullest flick about torture & witch-hunting that exists. There are some great names in the cast, but either they stay far below their usual qualities (like Anton Diffring) or they are badly restricted by their shallow and uninteresting roles (like Erica Blanc). The original was a masterpiece of cruelty. You could almost feel the agony and experience the living hell those poor women were going through yourself. Here, there's just a lot of screaming and only a handful of nasty images. These witch-hunters, Balthazar Von Ross and his misogynist minion Natas, don't even bother to put effort into their accusations. They just point out random women and torture them to death. There isn't the slightest bit of unsettling atmosphere, building up suspense or effective use of the torture scenery. All the sequences involving the bald nuns are downright odd, and the only two noteworthy moments of torturous cruelty involve a pair of fiery shoes and a nasty crotch-impalement. In fact, the only truly great thing about this dud is its original German title "Hexen geschändet und zu Tode gequält". What genuine exploitation-lover wouldn't want to see a film with a title like that?

I like this Movie very much.It is not so good like MARK OF THE DEVIL,but also very entertaining as well.

The cast with the German Actors Anton Diffring(Balthazar Ross),Lukas Amman(Eminence),Johannes Buzalski(Advocatus),Joachim Hackethal(corpulent torturer),Dietrich Kerky(Father Melchior)and Astrid Killian(young Nun)did very well.

There are also Austrians like Jean-Pierre Zola(Fahter of Countess Salmenau),Ellen Umlauf(Mother Superior),Harry Hardt,Adrian Hoven(Count van Salmenau),Percy Hoven(young Boy)and Reggie Nalder(Natas).

Erica Blanc as Countess van Salmenau did a very good performance. Sure,there was not really much Budget for it.But the sexualized torture scenes work very good out.

The whole Movie was shot in Austria.They used most of the same Locations like the first part.Last Fall i visited Lungau,Mauterndorf in Austria. They shot in real torture Chambers at Castle Moosham!This Castle was a real place for this,where Schörgen Toni examine "witches" in the witch tower.Now this place is hunted!

They also shot at Castle Finstergruen exteriors for the Movie.A few shots where made at Castle Mauterndorf.For example in the scene with the young maid that buys ingredients for an "love-drink" and than took a away for torture.This was shot in the inner Bailey of Castle Mauterndorf.

When you wanna made a bizarre trip to Austria,visit Lungau(Region Salzburg).

Join this Movie when you liked THE WITCHFINDER GENERAL or MARK OF THE DEVIL!

At least one correction: In the first review of this Film,the writer made a mistake about the Cast.Anton Diffring plays the Witch Hunter Balthazar Ross.Not the Priest! Father Melchior is played by German Sexfilm-Actor Dietrich Kerky.

I scored the original Mark of the Devil 10/10, I consider it to be a superb movie. Part 2 is pretty much a retread, although nowhere near as good I still thought it decent. Anton Diffring, a fantastic German actor is the chief baddie this time, with Reginald Nalder reprising his role as the callous, evil head witchfinder. I didn't realise but a few years later he played one of my favourite vampires, Barlow, in Salem's Lot. A man with a very unique face! Buxom redhead Erica Blanc plays the lead female. The plot is OK, the German scenery beautiful and the execution and torture scenes are plentiful. Further proof that the torture porn sub-genre was alive and well decades before the likes of Hostel and Saw.

Hexen geschändet und zu Tode gequält is exactly as lurid and heavy-handed as its title suggests. Released in 1973, during a European exploitation wave obsessed with medieval sadism and religious hysteria, this German-Austrian production lures with the promise of dark eroticism and moral outrage but delivers a clunky, unpleasant mix of theatrical cruelty and sluggish pacing.

Visually, the film occasionally conjures a sense of decayed menace. Stone dungeons soaked in candlelight, convent corridors thick with foreboding, and muddy village squares all evoke a suitably bleak atmosphere. Cinematographer Franz Xaver Lederle occasionally frames scenes with painterly restraint, but the impact is dulled by the film's erratic editing and murky print quality, which varies wildly depending on the version viewed. What might have been moody and oppressive quickly becomes muddy and monotonous.

Tonally, the film leans into its worst impulses. While some period dramas explore superstition and injustice with nuance, Hexen geschändet flattens everything into a cycle of accusation, humiliation, and punishment. It is less a coherent narrative and more a loose patchwork of sordid vignettes stitched together by vague moral panic. The score wavers between melancholic organ drones and jarringly upbeat cues that feel bizarrely misplaced given the subject matter, further muddying the film's already confused tone.

The performances are as uneven as the script. Herbert Fux, a familiar face in European sleaze cinema, gives the most arresting turn as a fanatical inquisitor, sneering and sweating his way through every scene with manic relish. He alone seems to understand the feverish energy the film aims for. The rest of the cast, particularly the women playing accused witches and helpless villagers, are reduced to one-note victims, alternating between hollow fear and passive nudity. They are given little to do beyond suffer, often graphically, for the camera.

Despite its provocative themes and shock-value title, the film fails to offer insight, suspense, or even sustained tension. It wallows in degradation without ever interrogating the madness it depicts. There is no real character development, no arc of resistance or redemption, only a parade of cruelty that numbs rather than disturbs. Where other films in the witch-hunt subgenre, such as Witchfinder General or The Devils, manage to balance their brutality with commentary or atmosphere, Hexen geschändet settles for crude spectacle.