Tag Archives: richard matheson

The Devil Rides Out: Hammer’s Chilling Dance with the Occult

08 Saturday Feb 2025

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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

Overshadowed but Unforgettable: Stir of Echoes Haunts 25 Years Later with Bacon’s Gripping Descent into the Supernatural

26 Saturday Oct 2024

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Released mere weeks after The Sixth Sense, David Koepp’s Stir of Echoes didn’t get the attention it might have otherwise garnered, overshadowed by the cultural juggernaut of Shyamalan’s film. Yet Stir of Echoes is a worthy supernatural thriller in its own right, deserving of renewed appreciation, especially for its unsettling atmosphere and committed performances by Kevin Bacon and Kathryn Erbe. Bacon’s portrayal of Tom Witzky, a blue-collar worker with newfound psychic abilities, anchors the film with emotional depth and an unflinching intensity that makes Tom’s haunting experiences feel palpable and raw. Erbe’s subtle performance as Tom’s wife, Maggie, complements this perfectly, grounding the narrative with compassion and skepticism, making her a compelling counterbalance to Tom’s unraveling.

Richard Matheson’s Influence on Horror and the Supernatural

At the core of Stir of Echoes is the source material by Richard Matheson, one of the 20th century’s most influential horror writers. Known for works that often blend psychological horror with speculative elements, Matheson’s narratives explore the ordinary disrupted by the extraordinary. Matheson’s storytelling roots run deep in science fiction and horror, most notably with I Am Legend, which redefined post-apocalyptic vampire lore, and Hell House, which took haunted house stories to terrifying new depths. His ability to weave supernatural horror into mundane suburban life, as he does in Stir of Echoes, continues to influence countless films and series that explore the terrors lurking within the familiar.

Matheson’s 1958 novel A Stir of Echoes was, in many ways, ahead of its time, diving into themes of hypnotism, mind control, and the thin veil separating reality from the supernatural. His approach in Stir of Echoes places existential dread at the forefront, turning the “suburban nightmare” into something tangible and deeply disturbing. Koepp’s adaptation modernises these elements, leaning into themes of suppressed trauma and the dark secrets that lie beneath everyday life, creating a reflective parallel to Matheson’s work that resonates with contemporary audiences.

A Closer Look at Stir of Echoes

The film’s story kicks off with Tom Witzky, whose life changes dramatically after a hypnotism session by his sister-in-law, Lisa (Illeana Douglas). What begins as a party trick unlocks a hidden part of Tom’s psyche, leaving him with disturbing visions of a young girl’s ghost and exposing him to a series of harrowing supernatural encounters. Unlike The Sixth Sense, which largely revolves around unraveling a single mystery, Stir of Echoes focuses on the psychological toll that comes from glimpsing beyond the veil, with Bacon’s visceral performance encapsulating Tom’s struggle as he becomes more and more unhinged by the visions that refuse to relent.

In addition to its nuanced approach to horror, the film builds a pervasive sense of dread through practical effects, shadows, and silence, a testament to Koepp’s restrained direction. The sound design, paired with moments of sudden dissonance, immerses viewers in Tom’s increasingly fractured mind. The sequences where Tom attempts to excavate the buried secrets—both literally and figuratively—of his neighborhood carry a claustrophobic intensity. The film feels close and personal, less focused on bombastic scares and more on disturbing, slow-building tension.

Bacon, Erbe, and the Unseen

Kevin Bacon’s role as Tom is undoubtedly one of the film’s greatest assets. His portrayal combines simmering rage, desperation, and vulnerability, making Tom’s journey toward self-destruction both tragic and captivating. As Tom dives deeper into his haunting visions, Bacon’s performance brings a rawness that makes the supernatural seem plausible, showcasing his ability to convey terror and fascination in equal measure. Kathryn Erbe’s Maggie is the calm counterpoint, her steady pragmatism holding the family together as Tom slips further away from reality. The chemistry between Bacon and Erbe creates a believability and sympathy for their family’s plight, grounding the supernatural elements in a relatable human connection.

Koepp’s Stir of Echoes ultimately deserves its place in the conversation around late ‘90s horror for its skillful blend of supernatural and psychological themes. While it may have arrived at an inopportune moment, in the shadow of a cultural phenomenon, its thematic depth and compelling performances keep it from fading into obscurity. Twenty-five years on, it’s a chilling reminder of Richard Matheson’s timeless influence and the potency of horror grounded in the most familiar places.

  • Saul Muerte

The Last Man on Earth (1964): A Mixed Adaptation of a Sci-Fi Classic

16 Friday Aug 2024

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The Last Man on Earth (1964), directed by Ubaldo Ragona and Sidney Salkow, is the first film adaptation of Richard Matheson’s seminal 1954 novel, I Am Legend. Starring the legendary Vincent Price, the film presents a bleak vision of a world ravaged by a plague that turns humans into vampiric creatures. While the movie has its merits, it also falls short in several areas, leading to a mixed reception that persists to this day.

The plot follows Dr. Robert Morgan (Vincent Price), the apparent sole survivor of a global pandemic that has transformed the population into nightmarish, undead beings. By day, Morgan methodically hunts these creatures and works on a cure, while by night, he barricades himself in his home, fending off the relentless attacks of the infected.

Vincent Price, known for his distinctive voice and charismatic presence, delivers a solid performance as Morgan. However, his casting was a point of contention for Richard Matheson, the novel’s author. Matheson, who initially adapted his own work for the screen under the pseudonym Logan Swanson, was reportedly dissatisfied with Price’s portrayal, feeling that it did not capture the everyman quality he envisioned for the character. This misalignment between the author’s vision and the final product is one of the film’s notable shortcomings.

The film’s atmosphere is one of its strongest aspects. Shot in stark black-and-white, The Last Man on Earth effectively conveys a sense of desolation and hopelessness. The empty streets and decaying urban landscapes create a haunting backdrop for Morgan’s lonely existence. The minimalist approach to the horror elements, focusing more on psychological dread than overt scares, sets it apart from many other films of its time.

Despite these strengths, the film struggles with pacing and execution. The narrative can feel sluggish, particularly in the middle sections, where Morgan’s daily routine is depicted in a repetitive manner. Additionally, some of the special effects and make-up work, though innovative for their time, have not aged well, detracting from the film’s overall impact.

The Last Man on Earth is only one of several adaptations of Matheson’s novel. It was followed by The Omega Man (1971), starring Charlton Heston, which took a more action-oriented approach to the story, and I Am Legend (2007), featuring Will Smith, which leaned heavily on CGI and modern horror tropes. Each version brings its own interpretation to the source material, but none have managed to fully capture the essence of Matheson’s original vision.

The film’s key message revolves around isolation and the human struggle for survival in the face of overwhelming despair. Morgan’s battle against both the external threat of the infected and his own internal demons reflects a universal theme of resilience and the quest for meaning in a seemingly meaningless world.

The Prognosis:

The Last Man on Earth is a film of contrasts. It boasts a memorable performance by Vincent Price and a hauntingly effective atmosphere, but it is also hampered by pacing issues and miscasting concerns. While it may not be the definitive adaptation of Matheson’s I Am Legend, it remains an intriguing and significant entry in the history of science fiction and horror cinema.

  • Saul Muerte

Retrospective: The Incredible Shrinking Man (1957)

11 Sunday Sep 2022

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1957 would turn out to be one last hurrah for Universal (for the time being at least) as they produced a number of movies that year. Some were better than others and I would name The Incredible Shrinking Man as one of their more successful outlets, looking back at it for the Surgeons of Horror retrospectives.

Part of this appeal, I believe, is down to the penmanship of Richard Matheson, who would go on to write I Am Legend; A Stir of Echoes; and Hell House, to name but a few. TISM would be his first venture into  screenwriting duties, and as such, would share the screenplay credits with Richard Alan Simmons; a gun for hire at the time.

Jack Arnold would once again take on directing duties, being called upon to repeat his scifi horror genre flicks success bearing the Universal name: It Came From Outer Space; Creature From The Black Lagoon; Revenge of the Creature; This Island Earth; and Tarantula!

The latter would prove to have its merits as once again our protagonist would come up against a giant from which to defed himself. 

Our protagonist in question is Scott (Grant Williams) who is coated one day in a mysterious mist; a macguffin for the film and serves as the agent of Scott’s mysterious shrinking. At first, it’s the small things, such as his waist size, and losing a few inches of height which he notices when standing next to his wife, Louise (Randy Stuart). Over time things get steadily worse, and Scott becomes smaller and smaller, at one stage living in a doll house and fighting off the house cat, before being swept away down the basement and presumed to be dead.

The smarts behind this feature come from the psychological trauma that this has on Scott and to some degree Louise. Scott battles constantly trying to deal with his bizarre affliction, even straying away from Louise at one point when he meets a ‘circus freak’, Clarice (April Kent), who has dwarfism, seeking solace in someone who may understand him. His ailment continues however and he must once again face up to his torment and try to make peace with his woes. It is this rather gloomy aspect to the film that would hang heavy on cinema goers at the time, but one that smacks of a realistic portrayal of the ‘what ifs?’ Scenario that is presented. I am often drawn to movies that leave you feeling disconnected and a star reminder of how small we are in the grand scheme of things, and TISM is the epitome of this example and why I believe it ironically stands head and shoulders above its equivalent features of the late 50s. 

It certainly heralds an impact worthy enough to hold discussions about a potential remake. John Landis himself had one in production which unfortunately didn’t manage to see the light of day. 

Its resonance is still strongly felt though in the genre community and I wouldn’t be surprised to see something of similar ilk come about eventually. 

Unlike Scott, the film is unlikely to disappear into uncertainty, especially among film scholars and science fiction lovers.

  • Saul Muerte