As of today, I have seen Jacques Tourneur’s excellent The Curse of the Demon at least half a dozen times. (The film, released by Columbia in 1957, is also known as Night of the Demon.)
I regard films involving demonology as potentially the scariest of horror films. After all, there are ways to overcome vampires, Frankenstein monsters, mummies, werewolves, and zombies; but no one can overcome Satan himself. The script is based on a famous short story by M. R. James entitled “Casting the Runes.” You can find a copy of the story by clicking here.
Dr. John Holden (Dana Andrews) is a skeptical investigator sent from the U.S. to England to speak at an international conference on the paranormal, shortly after one of the other speakers dies gruesomely outside his home. It is suspected that Dr. Julian Karswell, a British Satanist, was involved.
Karswell meets Holden in the British Library Reading Room, where he chivalrously reaches down and hands Holden a file he has dropped. Inside that file is a strip of paper with an ancient runish curse that Holden will die at 10 pm several days hence.
As the time approaches, Holden and the niece of the dead investigator try to understand what is happening and to cleverly circumvent it.
Along the way, there are weird sequences when Karswell summons the powers of darkness to scare Holden and convince him that he is a goner.
This is a film worth seeing multiple times. Watch out that you don’t bite your tongue while munching on popcorn during the scarier scenes.
It seems the most unlikely place to open one of the greatest film noir productions that Hollywood ever made: the bright sunny town of Bridgeport, California, within view of the Eastern Sierras. (But then, didn’t Warner Brothers’ High Sierra end up with Humphrey Bogart’s death in the same general area?)
I have seen Jacques Tourneur’s Out of the Past approximately half a dozen times now and am nowhere near tired of the film. It contains early performances by Robert Mitchum and Kirk Douglas, and a sockdollager femme fatale performance by Jane Greer. Jane would have had a brilliant career if Howard Hughes hadn’t fallen in love with her and gotten the brush-off when she married someone else: She remained on contract to RKO, but she was not chosen for many roles.
The plot concerns a gas station operator in Bridgeport who has, in the past, worked for a sleazy gangster played by Kirk Douglas. Though he changed his name and disappeared to a small town, Douglas has him tracked down and sucks him into his criminal schemes. In this, he is abetted by the devious Jane Greer, who, it seems, is unable to tell the truth, even when she and Mitchum fall for each other.
It’s strange that so soon after the glorious victory of World War Two by the so-called Greatest Generation, Hollywood produced so many great films noted for their pessimism. And this is one of the most pessimistic, with the message that if you should stray ever so slightly off the straight and narrow path, you are an irredeemable goner.
This is a film that never grows old. I may have aged since the first time I viewed it, but the film is still as fresh as an Eastern Sierra field full of wildflowers.
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