Fantasia 2010: Ken Russell’s ‘The Devils’ Still Provokes & Thrills Nearly 40 Years Later

First a little history: “The Devils,” released in 1971, was a film that Warner Bros. was never comfortable with. Though based on a true story (told in the book “The Devils Of Loudun” by Aldous Huxley), the plot revolves around a group of renegade, hypersexualized 17th century nuns who hatch a plot against the local priest and unknowingly aid the King in destabilizing one of the last independent cities in France, and was a lightning rod for controversy. The film by Ken Russell (who was at Fantasia receiving a lifetime achievement award) drew ire for its shocking imagery (masturbating nuns and orgies among some of the more salacious bits), and after its theatrical run, Warner Bros. more or less threw the film in their vaults and lost the key. While the film was restored a few years ago, including scenes that were edited or cut to get the film an X rating, it has yet to receive a proper DVD release. To give you an idea of the hurdles Warner Bros have put up in order to even screen the film, prior to the showing at Fantasia, organizers recounted that they were told they were allowed to import a print from France and were told that they could only use a Canadian theatrical print (which is identical to the US theatrical cut). The only print in Canada was battered to hell, and faded to red, and only after an extensive campaign did Warner Bros. finally relent and send a video master of the film for Fantasia to screen. But even though a master of the film does exist that includes some of the clipped material, the master sent was of the theatrical cut. So how does the film hold up nearly forty years after its initial release? It was our first time experiencing the film and we have to say, its still quite a provocative piece of work.

The film centers on Urbain Grandier (Oliver Reed), a respected priest and controlling figure in the walled city of Loudun. He is far from the ideal priest however; he readily gives into his appetites for the flesh, using elaborately phrased rationalizations to justify his actions. He’s certainly not an ideal of what the Vatican holds a priest should be but he is highly regarded by Loudun’s citizens. With the Vatican pushing Louis XIII (Graham Armitage) to unify the country by putting every city under rule of a single governing authority, Loudun and its renegade priest and leader become a thorn in Cardinal Richelieu’s (Christopher Logue) plans.

And thus enters the Sister Jeanne (Vanessa Redgrave) and the women of the local convent. Their religious fervor has turned their faith into something obsessive, strange and sexual. Jeanne herself lusts after Grandier who she sees as a sexual Christ-like figure, and is heartbroken and horrified when he marries the virginal Madeline De Brou (Gemma Jones). Worse, Grandier, who used to be her counsel, will no longer be taking on those duties and upon hearing this, in a fit of jealousy, hurt and anger she accuses him of possessing her and having sexual relations with several of the nuns. From there things spiral out of control as the opportunity is seized upon by religious officials to use these allegations to unseat Grandier.

While it sounds a bit convoluted and melodramatic, and though it does hit those notes here and there, for the most part, Russell’s film is some kind of surreal rock ‘n roll religious masterpiece. It’s simply unlike anything we’ve ever seen, and it’s even more unreal it was funded by a major studio.

What keeps the film from stumbling into camp or simply finger-in-the-eye provocation are the performances. Reed is fantastic as Grandier, a priest stripped of his power and betrayed by his faith. Redgrave is deliciously demented as the unhinged Sister Jeanne and a special mention must be made for Michael Gothard as Father Pierre Barre, the witch hunter whose frenzy for evidence of the devil is simply chilling.

And while the story is compelling and the cast is first rate, Russell’s film wouldn’t quite be the same if it weren’t for the breathtaking and anachronistic set design by Derek Jarman. The nuns convent looks like it could’ve been taken out of “2001” while his “Brazil”-esque design for Richelieu’s archives, complete with a two story high swinging door with a giant red cross on it, is staggering and jaw dropping. While they may not be period accurate, Jarman’s designs allow the film’s themes to reach through time, and the non-traditional approach definitely adds yet another layer to “The Devils” wonderful weirdness factor (believe us, you have no idea where this film will take you).

So when might we see “The Devils” in a proper release? Don’t hold your breath. Though it has appeared a couple of times on a DVD release schedule in past years, it has always ended up getting yanked. Count yourself lucky if you were able to download the film when it was accidentally release on iTunes earlier this year, but according to Jeffrey Wells, the problem may lie at the top to the Warner Bros. food chain. Apparently CEO Alan Horn is a particularly religious, conservative guy who had issues with “The Hangover” so its probably not on the top of his priority list to issue Russell’s provocative film. Though one wonders if his tune would change if “The Devils” was going to make the studio hundreds of millions of dollars. Hmm….

Anyway, the film is popping up in screenings around the country at various festivals and special programming events so we do urge you, if it does play near you, to make the trip (no matter which version it is). It may be your only chance. [B]