For over half a century, Ken Russell’s enduring 1971 masterpiece has been censored for obscenity – perhaps understandable when considering the sensibilities of the time it was first released. Now, fully restored and cut to Russell’s original vision, this definitive version is now being released in cinemas across the UK for the first time and boy, is it worth seeing.
‘Directors’ cut’ and ‘definitive edition’ are labels I usually take with a hefty grain of salt – oftentimes cut footage is removed for good reason and should stay on the cutting room floor but in the case of Ken Russell’s The Devils, this fully restored version is truly deserving of the definitive moniker.
Starring Vanessa Redgrave and frequent Russell collaborator, Oliver Reed, this is a twisted tale of obscenity, violence and the supernatural. The story is inspired by the true story of 17th century priest Urbain Grandier (the wonderful Reed) who is accused of bewitching a convent of nuns led by Sister Jeanne des Anges (Redgrave – fantastic). Grandier is the 17th century equivalent of Fleabag’s ‘hot priest’ – everyone wants a piece of him (including, most notably, the spiteful Sister Jeanne) and he knows it. Reed is devilishly (aha!) charming in his role; slightly slimy but ultimately a good man with weaknesses (he has his fair share of mistresses pining after him).
Despite his lecherous ways, it is his troubles with the King that brings Grandier the biggest headache as he heads up a crusade to keep the fortified city of Loudun an independent place. The King’s henchmen hatch a plan to bring down Grandier, destroying him through evidence of his depravity.
Enter the nuns.
The plot is to suggest that thanks to Grandier’s bewitching ways, the entire convent has been possessed by devils.
And here’s where the insanity really hits a frenzied climax. As part of a staged exorcism, the nuns willingly ditch their robes and habits and run riot through the church – blaspheming in every way imaginable (literally). This is coming off the back of an opening sequence where Grandier casually fends off an attacker using a taxidermy crocodile.
Talking too much about the reinstated footage would spoil what truly is an insane piece of cinema, but you can understand why the censors objected to it back in the seventies. It is a stunning film even without the new footage but without it, the strength of the film is watered down. What we now have is a thrilling and shocking affair backed by fantastic performances, and even a thread of wonderfully dark humour.
Like any movie of its era, there’s a risk that acting choices and – particularly – special effects (or lack thereof) might not translate well for modern viewers. And whilst there are one or two ‘interesting’ choices, the sheer commitment of everyone involved absolutely negates the few blips. Reed is loud and theatrical; Redgrave is chilling and deranged; the supporting cast is sublime, Dudley Sutton as Baron de Laubardemont is particularly detestable.
Sex, politics and religion – the three topics to steer clear of in polite conversation; well, there’s nothing polite about Ken Russell’s The Devils. Missing out on this bold, hysterical and visceral masterpiece would be a sin.
Ken Russell’s The Devils is in cinemas now.