MARK OF THE DEVIL

MARK OF THE DEVIL

(A.k.a. HEXEN BIS AUFS BLUT GEQUALT)

"In Europe, between the 15th and 19th Centuries, it is estimated nearly eight million people were convicted of heresy and executed by fanatical witch hunters, in order to save their souls. Their deaths on the scaffold or the funeral pile was for them the release from agonising torture which often lasted for years. This motion picture shows three cases taken from authentic documents from the time when witch-hunting had reached its peak and can only give a slight idea of the cruelties of one of the blackest ages in the history of Man".

So begins MARK OF THE DEVIL. And this sensational, grammatically challenged monologue (voiced by an earnest narrator who sounds not unlike Herschell Gordon Lewis) perfectly sets the scene for what is to follow.

We begin with a group of local witch-hunters chasing down a monk and two nuns who, it has been deemed, are in league with Satan. A public execution in the town square follows, including the removal of the monk’s fingers and his tarring and feathering. "Strip him – that way the women will enjoy it too!" one tormentor cries at this point, accentuating the spectacle that surrounded such atrocities.

The women, of course, suffer even worse fates. They were, after all, the object of temptation. And, lest we forget, these righteous witchfinders all happen to be male …

These barbaric hunts are organised locally at the whim of the ugly Albino (Reggie Nalder). His face itself is a crime against God.

But then Christian (Udo Kier) turns up at the local tavern. He advises Albino that he’s arrived there ahead of his master, Lord Cumberland (Herbert Lom), who will get there shortly to oversee future witch trials. Obviously, this disgruntles Albino. And he’s quick to pick up on the sexual chemistry between Christian and barmaid Vanessa (Olivera Katarina).

As Albino accosts Vanessa and is rebutted, he condemns her as a witch and attempts to take her into custody. Christian steps in, thus marking the beginning of a twisted tale which will expose his weakness for the fairer sex, Cumberland’s impotence, and Albino’s enduring status as a total cunt.

As a cheap knock-off of the popular WITCHFINDER GENERAL, MARK OF THE DEVIL works surprisingly well. Its period setting and costume details are keenly adhered to (I’m sure anachronisms could be found, but that may be missing the point), while the slight political/religious edge to the script – from Christian’s initially sincere belief in the fact that he’s employed to undertake God’s will, to Albino’s ambiguously conscientious approach to his work and Cumberland’s observation of corruption within the local authority’s ranks – adds an intriguing dimension to what may have otherwise been dismissed as derivative schlock.

Of course, the exploitative element is still there to be enjoyed. In spades. If you wish to see young women stretched on the rack, stripped naked, whipped, raped, having their tongue torn out with tongs, burned etc … it’s all here. Although, the film isn’t as gory as its reputation would suggest. Not in 2012. But it’s still grim, violent fare, especially if you’re one to let your imagination assist you in realising the terror these characters must be experiencing. The torture scenes are certainly sordid, if not quite as graphic as viewers may have remembered from bootleg video screenings of old.

Lom adds credibility to some sensational dialogue as the judge, jury and executioner; Nalder is plain creepy as the zealous inquisitor. Kier meanwhile is curiously stoic as the attractive young tragi-hero. Gaby Fuchs makes for a great victim, while director Michael Armstrong (and Adrian Hoven, who filmed some additional scenes to complete the film) keeps the pace tight and fluent.

The film – apparently initially pencilled in for WITCHFINDER GENERAL helmer Michael Reeves to direct, prior to his untimely death – works as period horror, high melodrama and unpleasant torture-porn precursor. No wonder it’s been remembered over the years.

Indeed, MARK OF THE DEVIL is a definite cult favourite, no two ways about it. So it’s nice to see whenever anyone releases it uncut (to this day, it remains censored in the UK).

And while I’m happy to report that this new American DVD release from Cheezy Flicks is indeed uncut (as well as being region free), it pains me to report that there’s little more positive I can add to that comment.

The film is presented incorrectly window-boxed in a 1.33:1 aspect ratio. It doesn’t look too cropped to be fair (the original ratio is 1.66:1), but the framing is still wrong and the picture quality is dull and faded in a VHS manner, Ironically, this presentation is one of the cleanest prints I’ve ever seen Cheezy Flicks use. There is very little in the way of scratches or debris onscreen. But the soft, milky look of every scene will horrify anyone who’s witnessed last year’s Turbine blu-ray edition of this film. The two releases are, quite literally, light years apart.

English mono audio is okay for the duration of this disc’s playback. It’s unremarkable, but there’s no real cause for complaint on this front.

The disc opens with static menus. The scene-selection menu of which provides access to the main feature via 14 chapters.

On-disc extras are minimal. They begin with trailers for two other titles forthcoming from Cheezy Flicks: I DRINK YOUR BLOOD and HORRORS OF THE BLACK MUSEUM. Both are great films, but I dread to think they’ll look anything like the terribly tepid presentations that are being suggested here …

We also get "Intermission Time", which is basically a couple of vintage cinema ads. The first of these is a marginally interesting plug for the MPAA’s then-new logo, courtesy of Julie Andrews.

There is also a single page of text which explains the Cheezy Flicks manifesto. Basically, to release crappy films onto DVD. In crappy editions (that’s my addition).

The DVD is advertised on the likes of Amazon.com as being a "Yak Pack", and with good reason: in an unusual display of money-spending, Cheezy Flicks have included a reproduction vomit bag with this release. Only, it’s not a direct reproduction of the ones originally served to US cinema patrons in the 1970s (as given away free with the 15th anniversary edition of Chas Balun’s ‘Deep Red’ magazine several years ago), but a cheap new alternative. Still, you have to admire their intent … don’t you?

MARK OF THE DEVIL is a fan favourite and, for me, it’s one of those rare films that keep getting better with age. But there are great releases of it out there already: the costly but worthy Turbine blu-ray; the English-friendly uncut Special Edition DVD from Blue Underground. Do we really need this lacklustre presentation too?

Review by Stuart Willis


 
Released by CHEEZY
Region 1 NTSC
Not Rated
Extras :
see main review
Back