Night of the Demon

                                      Who's a Pretty Boy, Den

This will be the first and most likely the last time that I discuss a film's merits, artistic or otherwise.

I'm taking time out from writing my usual drivel to comment on an old British black-and-white film from the 1950s: The Night of the Demon or Curse of the Demon as it was rebranded for the US audience. In addition to the name change, the film was truncated by 15 minutes. The Americans deemed it necessary to cut out a couple of subplots in order for the film to fit into their double-feature format. I've watched both versions and the unsullied version is superior and well worth its inclusion of minor distractions. 

I don't intend to summarise the plot, as you may well wish to view the film for yourself if you haven't already done so, and I do not want to curtail your viewing pleasure. In this post, my intention is to bring out a few highlights and comment in my inestimable style. Beware, there will be disclosures and perhaps the odd digression with the emphasis on 'odd'. You have been warned! 

Context

I first watched the film whilst young, at about the age of 7. I remember being transfixed and scared shitless, although I enjoyed the film immensely. Of course, at the tender age of 7, most of what transpired was lost on my fulminating brain. Role forward 51 years, I am now comfortably ensconced in rural New Zealand. My son lives and works in the capital city of Wellington about a two-hour drive from where we live. He is a busy man, and consequently, I don't get to see him as often as I would like. On those intermittent occasions when he comes to see his parents, we generally arrange what is colloquially called 'Gangster Night'. Tis a night where myself and second born retreat from our respective wives, leaving them to watch drivel in the living room whilst we become lodged in the lounge. We confer and select a film for our viewing pleasure. Our selection is of undoubted quality, gritty and usually comes with a body count. During the film, we consume fine ales, and afterwards, we comment and discuss the film in detail. On my son's last visit, I suggested Night of the Demon, a film that I had not seen for five decades.   

Filmy Bit

The film was directed by the acclaimed horror director Jacques Tourneur and starred Dana Andrews, Peggy Cummins, and Niall MacGinnis. Although it is a British film, the male lead, Dana Andrews, is American. Post war British films of the 40s and 50s always seem to feature an American actor in the male lead role. This was no accidental quirk. British films of the era were produced for a dual market, and the presence of an American in a prominent role garnished the film to suit the American palate. At the time of filming Dana Andrews was a fading star and was bereft of the cachet he had had in the 1940's. That said, Mr Andrews acquitted his role competently and with due professionalism. However, gone was the sparkle of an earlier decade and an air of 'contractual obligation' was evident in his gait. Or perhaps he was getting old. 

The accolade of 'Star' must go to the Irish character actor Niall MacGinnis. In the film, he is the counterpoint to white hat-wearing Dana Andrews. He fulfils the role of the archetypal baddy, dare I say it, with veritable aplomb. Apparently, the character he plays, Julian Karswell, is loosely based on the 'Wickedest Man in England', Alister Crowley. Niall plays an occult leader for a group of local followers. His skill with the dark arts has given him immense power and wealth, and he resides with his mother in a grand, graceful mansion. There is a hint that although his dark powers have provided him well, there is always a foul debt ultimately to be paid. It is as if Karswell holds a wolf by his ears. Niall is the master of understated horror. There is evil in this man, but it is not overt, certainly not in the way of a Hollywood villain complete/replete with maniacal laughter. Karswell's projection of cultured menace is the perfect foil to Dana Andrew's initially uncomprehending and befuddled character (Dr John Holden). Evil comes in many forms, and there is something to be said for philosopher Hannah Arendt's concept of 'The banality of evil', but not in this case. Niall's projection is not banal in any respect. Evil is present, but it is not commonplace. Evil abides in all of us but, for the most part, is kept in check by the intellect. Dr Karswell projects a fractured, erudite intellect which extrudes an air of menace with quiet abandon. We are not witnesses to the banality of evil; on the contrary, tis more akin to the 'urbanity of evil'. As a digression, Niall McGinnis was a qualified MD and served as a military surgeon in the second World War. It is difficult to state which was the side gig, doctoring or acting as he had over 80 films in his filmography. A very underrated character actor, in my opinion.  

Peggy Cummins is the film's 'almost love interest.' She is attractive in a well-groomed secretarial way, very British, even though she is Irish and strictly opposite to the Hollywood vamp of the 1930s and 1940s. Tis ironic as Miss Cummins is mainly remembered for playing a femme fatale in the 1950 crime film noir, Gun Crazy. In Night of The Demon, Peggy's main plot role is to provide an adroit intellectual counterpoint to Dr Holden's hard scepticism.

 Hal E Chester, the producer, and the director Jacques Torneur had significant artistic differences during the film's production. Tourneur envisaged an imaginative horror film with the portrayal of the titular demon left for the viewer to conjure in their own fertile or otherwise imagination. However, in the final cut, the demon became manifest at the beginning and end of the film. Considering the technology of the time, the portrayal of the huge lumbering bat-faced demon was reasonably good. However, I agree with Tourneur that some things are best left to the imagination. The weakest moment transpires when our doughty hero, Dr Holden, grapples with the cat cum leopard. It is clear that our protagonist is wrestling with a stuffed animal. That said, with the use of shadow and adept camera work, Tourneur saves the scene from outright farce. just. 

For me, the best scenes occur during Karswell and Holden's meeting in the British Museum's library; Holden's marrow-chilling 'run through the woods' after breaking into Karswell's home. There is something 'Wolfmanesque' as the clouds cut out the full moon, and lastly, there is the unforgettable Niall MacGinnis—in fact, any scenes in which he is part.

I remember, vaguely a British horror series presented sometime in the late 60s (Mystery and Imagination). One of the stories presented was The Casting of the Runes which had a similar plot run to the film discussed. Both the film and episode, of course, were adapted from a short story by M. R. James entitled Casting of the Runes.  I remember very little about the episode, although I recall the featured demon was winged- I could be wrong. Sadly, all the episodes from the series seem to have been lost. 

That's enough for now. I'm happy to write further film reviews in my characteristic, jumpy, quirky and idiosyncratic vein if my regulars consider my meanderings along this route favourable. Regardless of opinion, I would like to hear your thoughts.