La cruz del diablo

To begin with, I only became aware of this one last year: I was immediately intrigued, however, due to director Gilling's involvement (which, apparently, irked Spanish film unions and eventually proved to be his swan-song) but also for being an unofficial entry in the popular Knights Templar/Blind Dead series. The script (adapted from stories by Gustavo Adolfo Becquer, a Spanish author of horror tales in the vein of Edgar Allan Poe) was originally supplied by yet another cult figure, Jacinto Molina aka Paul Naschy, who would end up fired by the director (despite the two reportedly having been friends!) both in this capacity and as the film's leading man!!

Anyway, the end result may be slow-starting but it subsequently emerges a gripping effort, not to mention a stylish and (undeniably) atmospheric one; incidentally, as was the case with the recently-viewed THE WOMAN WITH RED BOOTS (1974), there was an unexplained discoloration in the image during fog-bound night-time sequences! Another asset with respect to the film under review is that it is well-cast: this extends to Ramiro Oliveros – who replaced Naschy (the latter would, in any case, have been wrong for the part) – whose novelist hero is forever doubting events due to his copious intake of hashish! Even so, the dominant presence is definitely that of bald-headed, bearded and memorably sinister Adolfo Marsillach (father of Cristina from Dario Argento's OPERA [1987]!): his eventual revelation as the villain of the piece was hardly a surprise, but his true identity still provided a sting in the tail!

Typically effective, too, is Emma Cohen (who actually leaves a more lasting impression than nominal, and top-billed, leading-lady Carmen Sevilla): she had been equally notable in an earlier Naschy vehicle, HORROR RISES FROM THE TOMB (1972), as well as the nasty Spaghetti Western CUT-THROATS NINE (1972) and, best of all, Jess Franco's restrained psychological thriller THE OTHER SIDE OF THE MIRROR (1973; in which Oliveros also appears). Here, she is actually an apparition, doomed to be constantly pursued by the Templars (right from the opening moments of the film, in fact!)…until 'freed' by the hero at the climax, as he fights off her assailants with a sword she had directed him towards found in the very ruins of a monastery where they rise every All Saints' Day! Also on hand are a somewhat glum Eduardo Fajardo, Fernando Sancho (in unusually servile mode) and Monica Randall in a small but pivotal role (she would also be given prominence in the Naschy-directed INQUISITION [1976]).

Though its pedigree obviously points in the direction of the Hammer, Blind Dead and the typical Naschy films, with a bit of the Giallo (by way of a masked killer on the loose!) thrown in for good measure, perhaps the biggest compliment one can level at THE DEVIL'S CROSS is that it particularly brought to mind Mario Bava's KILL, BABY…KILL! (1966) – not just in the overall look but also the complexity of its narrative (notably the ironic and downbeat coda). In the end, whatever Naschy's contribution was to the finished film, this can surely be counted among the best Spanish horrors out there and, consequently, ought to be more readily available...

Cross of the Devil (1975) is a Spanish film 🇪🇸 currently streaming on Tubi. The story follows a British writer who travels to Spain to visit his sister, only to discover she has been murdered by a local cult. Determined to uncover the truth and seek justice, he dives into the mysterious events surrounding her death.

Directed by John Gilling (The Pirates of Blood River), the film stars Ramiro Oliveros (The Swamp of the Ravens), Carmen Sevilla (King of Kings), Adolfo Marsillach (The Black Tulip), and Emma Cohen (Novela).

This is an enjoyable film that delivers some unexpected twists. The period attire, detailed sets, and effective props draw you into the era, while the use of smoke machines enhances the atmosphere. The flashback sequences are engaging, and the cult scenes are suitably eerie. The background sound effects also contribute to the film's mood. Most of the action occurs at the beginning and end, but the story remains entertaining as it unfolds. The conclusion, with its unexpected sword duel, has a Three Musketeers vibe that adds a unique touch.

In conclusion, Cross of the Devil isn't flawless but stands out as a fun and distinctive film from its era. I'd rate it 6/10 and recommend it to fans of vintage cinema.

From the reading of Gustavo Adolfo Bécquer's legends in my adolescence, I have the memory of subtle and romantic stories about death, with apparitions, monks and strong presence of the Spanish landscape. Three of these stories served as the basis for «The Cross of the Devil» which was the last film directed by John Gilling, British filmmaker remembered for his low budget films of all genres: adventures, police, pirates and, above all, terror. Of these, I fondly remember two Hammer Films productions, in which he made the most of his plots and budget: «The Reptile» and «The Plague of Zombies.» By the early 1970s Gilling was in retreat and had not shot a feature since 1967. However, when he visited Spain to film some material, his friend Paul Naschy, the well-known Spanish horror film actor, asked him to direct his adaptation of three short stories by Bécquer, probable reserving for himself the role of the villain. At the end, the actor did not make the film, but Gilling filmed Naschy's screenplay (or Jacinto Molina's as he is credited), an adaptation that takes equal parts from «El miserere», «El monte de las ánimas» and «The Cross of the Devil» , which gives title to the film. Here the simplicity of Bécquer's direct prose is replaced by an intrigue full of subplots, red herrings and recurrent dreams, to achieve a product of hour and a half. Ramiro Oliveros plays Alfred Dawson, a British writer addicted to kif who is undergoing a literary block. The young man will be able to write the article of his life when he travels to Spain, called by his sister Justine, married to a wealthy bourgeois from Bilbao. When Dawson arrives in Spain, Justine has been murdered and the writer initiates an investigation that puts him in contact with stories of knights Templars, a bewitched armour, gallantry between cousins that leads to death and insinuations about the low morality of his sister. The script has several endings that lengthen the film a little, closing what was taken from each of the three stories. The result is a correct film, but little else, while Gilling continued to happily enjoy his holidays until the year of his death.

John Gilling was a filmmaker of no small renown, and having him involved in a production is a fair get. It's to the credit of all involved that this film also boasts excellent production values up to the standards of the time, with superb art direction, costume design, and stunts and effects. One will also observe that like no few other contemporary examples, the picture leans considerably on mystery, and mounting investigation, with only sparing visualization for the preponderance of the length of violence, death, or the dark dealings portended in the lore revealed through dialogue. The premise is certainly sufficient to catch one's attention, too.

Unfortunately, I'm not so sure that the strength of the viewing experience bears out the expectations one may have on any particular basis. Even recognizing the deliberate, measured dispensation of the story and the genre elements, the pacing feels dull to the point of dampening one's enthusiasm and trying our patience. Plot development is rather slow, and one will note that this was the last project that Gilling took on in his life, at that several years after his most recent previous work. I don't say this to altogether reflect on and impugn the man's skills as director; then again, there are definitely moments when his direction comes off as especially weak. There are no few moments, for example, when a scene relies rather oddly on hard gazes shared between Adolfo Marsillach as del Rio, Eduardo Fajardo as Enrique, and possibly other actors/characters, and the moment is so flimsily drawn out as to sap any possible tension from the intensity of the players' expressions. While we viewers are treated to bits and pieces of violence and horror notions as the length draws on, 'Cross of the devil' saves the vast preponderance for the last act. The wait is worth it to some degree, yet I can't help but feel disappointed; like a more famous Spanish flick involving the Knights Templar, 'Tombs of the blind dead,' the actual experience of watching doesn't live up to its reputation, or what we assume.

I also think the writing is troubled. We're basically presented with three major plot points: the murder of Justine, and Alfred's interest in learning more about it; the tale of Beatriz and Inigo, a legend passed down through the years; and the legend of the Knights Templar and the titular location. The writers do make connections between these ideas, but the threads are weak and less than fully convincing; moreover, as they present, each plot point in and of itself is less than entirely cohesive. Note, for example, how the weapon that is offered up as a crucial MacGuffin in the last act has only just been introduced for the first time; as an audience we can only take it on faith. Even the last ten minutes or so serve up only a very meager resolution to the tale; the glove fits, but barely, and it has holes that our fingers easily poke through. I've heard it said that modern viewers are too obsessed with plot, and that in the face of story ideas that disagree or don't form a cogent whole we forget how to just have fun nevertheless. I understand that sentiment, but there comes a point when the frailty of a screenplay reduces the support structure for the movie that's built upon it. I rather think 'Cross of the devil' works best only if we can accept the logic of Movie Magic that holds its storytelling together.

It's still enjoyable, by all means, and I'm glad I took the time to watch. I name-dropped 'Tombs of the blind dead' in fleeting reference and truthfully, I think this is a superior feature. That doesn't make it a great one though: good, yes; specifically admirable, no. I appreciate all the hard work that went into it, and I'm glad for those who get more out of it than I do. More than anything else, however, I believe this 1975 title needed more pep in its step to make its ideas count, and above all it needed more time to gestate so that the writers could patch the rough spots in the details of the plot. 'Cross of the devil' is a suitably good time if you come across it, but all told, you shouldn't go out of your way for it, and temper your expectations.

Often said to be the unofficial fifth chapter in the "Blind Dead" series, John Gilling's "La Cruz del Diablo" (The Devil's Cross) easily tops his predecessors, and is among the very best horror films to have come out of Spain. The story follows a writer who has a series of drug addicted hallucinations involving the Templars. When he goes to Spain visit his sister, only to find that she died by the time he got there, he decides to investigate, and tries to find a connection between her death and his horrifying visions. While many have called it a mere cash-in on Amando de Ossorio's infamous series, it's actually a much more accurate and throughly superior adaptation of the writings of Gustavo Adolfo Bécquer, which also served as inspiration for "Tombs of the Blind Dead". Like Béquer, less emphasis is given to the Templars themselves, and the whole affair is more of a character-driven piece, that is not devoid of symbolism and ambiguity. I have to give credit to Ossorio, since his Templars are much creepier than those presented here, but I liked how Gilling went for something different, and kept them more in the shadows. Originally intended as a Paul Naschy vehicle, one can clearly see how this could've become just another 70's Spanish horror, but Gilling's direction makes the total difference. A Hammer Horror veteran, Gilling combines the more sophisticated, polished style of his British contemporaries and combines it with the more raw, grittier appeal of Spanish Gothic. There's a bit of Italian horror in there as well, "Kill Baby ... Kill!" and "Castle of Blood" to be more precise, and one can argue that the black-gloved killer is a nod to gialli. Judging from this combination, it is suffice to say that the visuals are simply jaw-dropping, making great use of the beautiful Spanish locations, which land to the ever-present fairytale-ish aspects of Bécquer's work, as well the use of actual ruins and atmospheric, candle-lit interiors. The sometimes eerie, sometimes romantic score by Ángel Arteaga matches the off-beat yet strangely poetic tone perfectly. The acting is also surprisingly decent, with a cast of familiar faces from the continental horror scene of the 70's. Ramiro Oliveros and Emma Cohen, who already acted together the previous year in Jess Franco's excellent "The Other Side of the Mirror" are particularly remarkable as the drug-addicted protagonist and his ghost lover respectively, although one cannot help but wonder how would Naschy turn out in the former's role. Carmen Sevilla makes for a strong and likable heroine, and Eduardo Fajardo is good too, although he seems to be playing Francis Lehar from "Lisa and the Devil" all over again (ironically, the way his corpse is positioned near the ending is almost exactly the same as in "Lisa". The highlight among the performers is certainly Adolfo Marsillach as the mysterious assistant to Fajardo's character. He has screen presence to boot, and is just so effortlessly creepy in his relatively low-key performance. There are no big flaws in the film as far as I'm concerned, although one could argue to that the final battle between the protagonist and the Templars is somewhat anti-climatic, and the pace might be a little too slow (think "The House with Laughing Windows"). Overall, an excellent and extremely underrated horror film worthy of rediscovery. Fans of Gothic horror and slow-burns just can't afford to miss it.