The Power of Good Against the Forces of Evil

When Hammer Films turned their attention to Dennis Wheatley’s supernatural thrillers, few could have anticipated the enduring legacy of The Devil Rides Out (1968). Directed by the prolific Terence Fisher, it stands as a masterclass in atmosphere, storytelling, and occult intrigue, all while showcasing Christopher Lee in one of his finest and most distinctive performances.

At the suggestion of Christopher Lee, Hammer secured the rights to three of Wheatley’s novels: The Devil Rides Out, The Satanist, and To the Devil a Daughter. Wheatley’s works, steeped in the dark arts and tales of moral confrontation, presented the studio with fertile ground for their horror sensibilities. Lee, a longtime admirer of Wheatley’s writing, saw The Devil Rides Out as an opportunity to expand his range. Cast against type, he portrayed the heroic Duc de Richleau, an intellectual and commanding figure who battles Satanic forces with poise and conviction.

Hammer entrusted screenwriting duties to Richard Matheson, celebrated for his work on The Twilight Zone and various genre-defining projects. Matheson brought a deft touch to the script, balancing faithfulness to the source material with a streamlined cinematic narrative. His adaptation maintained the novel’s core themes while amplifying the visual potential of its occult sequences.

The Devil Rides Out marked the final collaboration between Terence Fisher and Christopher Lee. The legendary duo had worked together on a string of iconic Hammer films, including The Curse of Frankenstein and Dracula. Fisher’s steady hand brought gravitas and tension to the film, crafting a foreboding atmosphere that elevated its more fantastical elements.

Christopher Lee, stepping away from his usual roles as villains or monsters, relished the chance to play the righteous Duc de Richleau. His commanding performance is a standout, projecting authority and intelligence while conveying the stakes of the battle against evil. Lee’s passion for the project shines through, and it’s evident that this role was deeply personal to him.

The supporting cast bolsters the film’s gravitas. Charles Gray’s turn as the malevolent Mocata is mesmerising, blending charm and menace in equal measure. Mocata’s scenes of hypnotic manipulation and occult rituals rank among the film’s most chilling moments. Nike Arrighi delivers a quietly effective performance as the vulnerable Tanith, while Leon Greene, Patrick Mower, Sarah Lawson, and Paul Eddington round out a solid ensemble.

What truly sets The Devil Rides Out apart is its commitment to the supernatural. Fisher and Matheson crafted unforgettable set pieces, from the tense ritual to protect a sacred circle to the summoning of the Angel of Death. Bernard Robinson’s production design and James Bernard’s eerie sound design create an immersive world where the line between good and evil feels palpably thin.

Kudos must also go to Hammer’s visual effects team, who worked wonders within the constraints of the studio’s modest budget. Though some effects now feel dated, their inventiveness and ambition remain admirable. The film’s climactic moments still resonate, particularly the shocking confrontation with demonic forces.

Critically, The Devil Rides Out has been lauded as one of Hammer’s crowning achievements. Fans and scholars alike praise it as a rare foray into the supernatural that combines intellectual weight with Gothic spectacle. However, its commercial performance, particularly in the United States, fell short of expectations. Hammer’s distinct brand of horror faced stiff competition in a market shifting toward grittier, more visceral fare.

Despite this, the film’s reputation has only grown over the decades. Its themes of morality, faith, and resistance against darkness remain timeless. And for Christopher Lee, it was a career highlight that showcased his depth as an actor beyond the iconic monsters he so often portrayed.

The Devil Rides Out is a haunting, sophisticated entry in Hammer’s catalog, blending Wheatley’s literary prowess, Matheson’s screenwriting expertise, and Fisher’s directorial vision. It’s a testament to the power of storytelling and the enduring appeal of Gothic horror.

For fans of Hammer Films or anyone fascinated by the battle between light and darkness, The Devil Rides Out is a must-watch.

• Saul Muerte