lasttimeisaw THE DEVILS, Ken Russell's grandiose and provocatively scandalous adaptation of the notorious witchcraft trial in 17th Century France, has its own indisputable artistic flourish albeit its thinly veiled obloquy and ridicule of the insidious backscratching between religion and politics, actualized in the most wanton style which can be both riveting and endurance-testing.Father Urban Grandier (Reed), a Catholic priest in the city of Loudun, is as liberal in his attitude towards Protestants as in his views on sex, woman and marriage, which makes him a fair game in the eyes of Cardinal Richelieu (Logue), who is spoiling for a theocratic regime by ingratiating himself with a flamboyantly attired Louis XIII (Armitage), who opens the film with a ludicrous playacting. So the actual persecution is carried off by Richelieu's minions, the Baron de Laubardemont (Sutton, an exemplar of dastardly evil-doer) and an adept inquisitor Father Pierre Barre (Gothard, hard to take him seriously with his jarringly out-of-context hippie hairdo and histrionic enthusiasm). Distinctly and blatantly, Russell plays the anachronistic card to accentuate the whole scenario's fulsome scale of delusion and sleaze: the town's cubistic buildings, the prison-like, cemented interior of the church and low-ceiling convent. It marks a big leap from other more detail-revered period films, that is where Russell pushes the envelope of his unorthodox vision and constructs something so bombastically lavish, idiosyncratic, sacrilegious and explicit to make great play of the harrowing witch-hunt and jeer at the religious brainwashing.Oliver Reed's macho bravado is not everyone's cuppa, but tellingly he is riveting to behold in the show trial and on the stake, operatic but counterpoising the sadistic atrocity with his own stamina and compassion. Vanessa Redgrave's Sister Jeanne des Anges, a twisted character subjugated to her repressed sexuality, is both a victim and an inexplicable indictor, her tour-de-force is staggeringly perverse and utterly stirring, a deformed figure imprisoned by her warped faith, mouthing the ugly truth of nun's ill-fated destiny, from this regard, the orgiastic sequence (much is cut from the original version but re-added in shoddy quality in this DVD version) in the heat of the exorcism, evokes a ghost of misogyny and misgivings that Russell's abandon seems to be beyond the pale in his unrestrained demonization, not of the Establishment, but of the powerless and downtrodden. Last but not the least, a dazzling Gemma Jones debuts as Madeleine De Brou, Grandier's wife, who could have been put to good use (or at least a chance to give her own voice, however it would be inconsequential for the preordained judgment) in the fray if Russell's modernist take doesn't opt to kept her entirely off-screen during the show trial of her husband. All things considered, THE DEVILS substantiates itself as a cultish eye-opener for its liberal- minded audience, but definitely a bugbear among devout God-botherers, a monumental artifact only can be conceived and manufactured in the age of liberation.

Smoreni Zmaj I thought that Clockwork Orange was sick...This movie is not nearly famous as Clockwork, but it should be. It is probably the sickest movie I ever watched. After this, Clockwork Orange looks like picture book for kids.And at the same time it is essentially good movie. Unlike Human Centipede and similar nonsense movies that try to cover absence of any quality by tons of abominations, this movie is equally nasty and really good piece of cinematography.Just try to put your prejudice aside and you'll enjoy it. Even if it is too much for some of us, it's quality can not be denied.

jaime de la garza I loved this film, greatly enjoyed itIt's got a good story, beautiful sets, great dialogue, amazing acting by the majority of the actors, especially by leads Oliver Reed and Vanessa Redgrave. It's the kind of film that draws in and doesn't let go until its inevitable endingHaving said that, what surprises me most about this film is that it almost escaped my radar. It doesn't pop up in any of the disturbing movie sites I've seen or lists I've read of similar matter. If it wasn't for this random guy I came across surfing YT that briefly recommended this film to his viewers, I fear I would have never seen it, in my entire life, and that, to me, would've been a shame; yep, this film is that goodThough the moment the torture starts on Oliver's Grandier the movie slowly but surely descends into such savagery that may only appeal to psychos and very open-minded people (I'm one of the latter) from that point on. I mean, what was the point of seeing his blistering face as he burns to death? And his genitals getting crushed moments before this scene takes place. The only reason: to shock the audience, should've made do without it. It's not really a complaint, though, I'm open- minded, but it does make you feel like you're watching a completely different movie Still, the movie's solid, well made and enjoyable. It's actually funny, some of the stuff I found in this movie could compete with and even surpass that of Cannibal Holocaust's brutality. Yet CH's widely known, due to said brutality, and The Devils has almost sunk into oblivion, except to those that already know where it is!So try and become one of these and take a look at this powerful movieJaime A. De la Garza https://www.amazon.com/author/jaimeadlagarza

jlgAltman Let's get one thing out of the way, I adore Ken Russell. Something about his aesthetic is totally in sync with my world view. From WOMEN IN LOVE to WHORE, Russell always impresses. His rambunctious, over the top, more is more style should be ideal for THE DEVILS. Unfortunately, the film simply grows tiresome. You get what Russell is up to--group think, religious hysteria, sexual repression, etc... It takes about 30 minutes to get the point but the film goes on for another 90 piling on the atrocities and turning up the craziness. THE DEVILS feels like a madcap Hammer Horror which is a huge compliment. THE DEVILS also looks amazing with a white brick set that is totally modern and nothing to do with 17th century France, and yet it never feels as obvious as the film. Bravo Vanessa Redgrave for a no-holds-bar performance. She is spectacular and displays a restraint at moments that you wish the film had.