This is the climax in mind-chilling terror!
A French nobleman deserts his wife because of an ancient family secret.
A French nobleman deserts his wife because of an ancient family secret.
Sharon Tate was an absolutely mesmerizing presence on screen. I can only imagine what type of interesting career she might have had if she had not been murdered at 26 with only a handful of feature films to her name.
This is a very niche oddball retro horror that is hard to pin down and very specific as to the type of viewer that will appreciate its charm. It's extremely slow and dreamlike with lots of bold cinematography, unexpected editing and liberal use of zooming/panning. It's the type of thing horror purists would appreciate most while a bit drowsy around 2 or 3 AM. The film is basically an inheritanace story about a man returning to a historical family vineyard…
So...shit, this is really awkward. I'm no good at this sort of thing. I guess it's best if I'm just honest with you. The thing is, I kind of worship Sharon Tate now. It just happened. Well, yeah. And also Barbara Steele. See, that's it exactly! Why should I have to give it up to one and only one infernal goat god!?! I guess what I'm trying to say here is, I want to see other people.
Now, about that contract I signed...
The haunting sound of chimes ringing deep in a hollow, where a solitary tree stands, waiting for your sacrifice. This has some fucking atmosphere.
'In his mind there is a vision wand'ring
Through the forest town
Telling of riches only given if through
The woods the way is found.'
psychologically-fractured, gothic castle occult murder party. kinda shocked i hadn't even heard of this.
A family is led to an estate in France with vineyards that haven't produced for two years. Since the estate is centuries old and its owners are linked to an ancient pagan cult, the only remedy to restore the vineyards is a blood sacrifice. Everyone seems to know this except the part played by Deborah Kerr as the wife of David Niven, the current owner, who's mood changes to dread once he hears of the crop failures. At the chateau, Kerr and the children meet a witch played by Sharon Tate in a hypnotic role. She's never out of her character, a steely portrayal of a witch as cold as ice. The film mixes some horror in with pervasive atmosphere…
I've seen quite a few J. Lee Thompson films now and I'm left wondering exactly what the general critical opinion is on him.
I tend to be out of touch with these things, but I have to say that he's a director that has rarely disappointed me. Admittedly I haven't seen all that many of his films from the end of his career where he and Charles Bronson phoned in a bunch of half-arsed action films together, but his versatility and consistency from earlier in his career continues to impress me.
Here we see him tackling a devil-worshipping horror film, a task that seemed quite thankless when it was released…
50 years ago tonight, a group of cunts and a dipshit hippy Texan destroyed several lives. Because of countless factors, they ultimately won. Movies, songs, books, documentaries, interview after interview, podcast series’s, merchandise. Jesus fucking Christ. They should’ve all been dead decades ago. Sharon Tate should be 76, Paul Richard Polanski should be 50, and Roman shouldn’t be a molesting bastard. But here we are.
Yes Tarantino, scoop me up in your spastic arms and toss me into your world of 1969.
'Am I seeking, or am I being sought?' (David Niven as Philippe de Montfaucon)
A chillingly effective and visually resplendent spooky melodrama from the British wing of MGM's operation, very flashily directed by an on form J. Lee Thompson, one of the most dependable craftsmen in the movie business. The film's artistic success - sadly, it failed at the box office - is even more remarkable when you consider that the film was almost in the can before an injury to the originally cast leading lady (Kim Novak) necessitated her being replaced by Deborah Kerr for a series of extensive reshoots. The French Gothic castle setting is tailor-made for creepiness and Lee Thompson doesn't put a foot wrong; his framing…
Don’t be fooled by the poster’s assertion that “This is the climax in mind-chilling terror!” It really isn’t.
The film starts with a 1960s jazz harp party in Paris, which really got my attention, but it doesn’t continue in this vein. The Marquis Philip de something (David Niven) receives a note informing him that the harvest has failed in his home village, which seems to be clinging to the feudal system. He must hurry back to his huge ancestral chateau at once to deal with the crisis, accompanied against his wishes by his wife Catherine (Deborah Kerr) and his children. The film is mostly from Catherine’s point of view and she quickly becomes worried about the weirdness of the locals,…
Predates both The Wicker Man and Rosemary's Baby but has flavours of both flowing through it. There is always something about a 'woman can see something sinister afoot but everyone thinks she's hysterical' trope that feels so satisfying when it comes to the unveiling of evil, and I don't think I'll ever get bored of it.
I love discovering classic horror gems like this! It's a top movie, with great stars in the roles. Screen legends David Niven and Deborah Kerr are rich vineyard owners. Big house, two kids. Suddenly David is summoned to his hometown home. Uneasy Deborah follows him. Strange people show up, horrific dreams and situations. Deborah is alarmed her husband is so calm and blasé about all the madness around. There's pagan rituals, weird cult mixed with Christianity. The more she wants to understand the more she gets into a scary hole she'll soon would not be able to get out off. J Lee Thompson before being the go-to director for Charles Bronson during the 80s was a respected and skilled director.…
To my mind, Eye of the Devil is a film that looks much better than it is. Directed by J. Lee Thompson and shot by Erwin Hillier, the black-and-white cinematography and camerawork give the picture a cool elegance and a near-constant sense of movement.
What’s inside teems with promise. From contemporaneous times, we step back to pagan Europe, a small French village whose grapes are dying on the vines and somewhat satanic-tinged rituals are needed to right what’s wrong for the people.
Deborah Kerr tries to dismiss this “primitive nonsense” as “heathen mumbo jumbo,” but her subdued hubby David Niven fatalistically falls back on ancient belief systems and his responsibility as the lord of the manor.
For all its potential, it never really took off for me. Though David Hemmings and Sharon Tate flit around as menacing blonde beauties full of potential cold evil.
Si, par un soir d’hiver, vous hésitez entre un grand classique, un film d’avant-garde et un B-movie cheapette, c’est probablement Eye of the Devil que vous avez envie de voir.
Ce film semble être un remake de Black Narcissus (par son sens du lieu et du relief, sa tension, son souffle) conçu quelques semaines après la découverte de The Innocents (caméra laiteuse, contrastée, ciselée, habitée), Persona (passages assez radicaux côté montage) et la télésérie Batman 1966 (hystérie pop gloutonne et angulaire).
La distribution est écartelée entre :
- Pôle prestige, Deborah Kerr et David Niven, qui ne sacrifient rien de leur superbe habituelle.
- Pôle edgy, Sharon Tate et David Hemings, fiévreux, dangereux, mystiques.
- Pôle pop, Donald Pleasance qui ancre…
Vine por Sharon Tate y me quedé porque es un peliculón del que sorprendentemente nadie habla.
Sharon Tate ♥️
This picture has it's problems; it's too serious, and not in a good way. It feels disjointed at times, as if the story starts down one path, then suddenly shifts to another. The supporting cast (including the iconic Sharon Tate) feel more like props and aren't really given much to do except stand around and look sort of creepy.
And yet...Potentially, it's Eyes Wide Shut thirty-three years before. There is a really good story so close, and in many ways this is a chilling legacy of blood sacrifice and dark magick, encased in aristocracy. Philip has gained the whole world, but he's lost his soul. As much as Katherine tries to save him, his doom is already determined.
Gothic and moody, with Deborah Kerr selling the heck out of the strong-but-distressed-matriarch role. This film was clearly a precursor to others in its same sandbox — Rosemary’s Baby, The Wicker Man, etc. But unlike those far stronger films, there is minimal surprise or suspense in what transpires. The end result is nearly all laid out from the first few scenes and while the details don’t become fully explained until the final act, there is little to disguise where things are headed, making our protagonist’s frantic efforts to uncover and stop what’s happening more tedious than it should be.
Lots of good here though. A genuinely chilling scene where Kerr suddenly finds herself surrounded — and pursued — by robed,…
sharon tate was mesmerizing. what a talent.
Proto-folk horror thriller from J. Lee Thompson with a starkly beautiful, high contrast black-and-white nightmarish surrealism and creepy effective performances from a bug-eyed Pleasance; a zombie-like Hemmings; and a witchy Stone Cold Fox satanistic Sharon Tate.
Deborah Kerr can't catch a break when she discovers the dark secret behind the family fortune of her husband, a miscast David Niven.
Plenty of gothy atmos; belladonna-laced dream sequences and an early experimental editing style and montages that adds to the dreamy proceedings. Even if the story's pace drags in some spots and the final reveal comes to a confusing and murky conclusion.
-Chanting on the soundtrack.
-Burning altars in the woods.
-Hooded faceless figures.
-Staring, hive mentality vineyard workers.
-Hypnotizing amulet necklaces.
Perfect late night; with-the-lights-all-off fodder.
Did Deborah Kerr and David Niven lose a bet? It was supposed to be creepy/scary. I was bored. There was no suspense. There was nothing to be scared off. It was underdeveloped and poorly executed. I love Niven and Kerr and could see they were doing their best but unfortunately there was nothing for them to work with.
ler comentário antes de ver filme é uma merda, bando de exagerado
“men always lie. personally, i have no use for them.”
exactly sharon tate, exactly
Watched this for the first time Christmas morning in 2009, was fairly unimpressed with it- but upon second viewing it’s really quite good. This time through I found the editing inspired and the down to the wire ending much more impactful. Kerr is, unfortunately, the weak link here- more to do with the script than with her but all the same. Pleasence looking like Tweety Bird as the freaky priest was great, and I adore how the villagers behave towards Niven- all those scenes in the vineyards and about town are marvelous.
Rocky LaForge 18,743 films
As it reads on the tin.
NarpJay 3,171 films
A fine collection of cinema's underbelly, from trashy horror and grindhouse pictures to creature features, nudie cuties, sexploitation...and a few…