Night of the Demon/Curse of the Demon

STORY

“It has been written since the beginning of time, even onto these ancient stones, that evil, supernatural creatures exist in a world of darkness. And it is also said that man, using the power of the ancient runic symbols, can call forth these powers of darkness, the demons of Hell. Through the ages, man has feared and worshipped these creatures. The practice of witchcraft, the cults of evil, have endured and exist to this day.” Opening credits appear amid a dramatic Clifton Parker score.

Eerie photography illuminates a lighted, woodsy sequence. An automobile speeds along a country road, passing under moody tree limbs. The man, Professor Henry Harrington (Maurice Denham), finally makes it to Lufford Hall, a gated mansion. Pulling up to the ornate, lighted house, he loudly knocks on the door; a butler answers. The visitor demands to see Dr. Karswell (Niall MacGinnis) at once. The butler announces Karswell is not at home, but Harrington insists he is. Karswell slips into the room from the side. Karswell invites Harrington in, and he is introduced to Karswell’s mother (Athene Seyler), who offers to make tea. Karswell announces he won’t be here that long.

In a panic, Harrington asks Karswell to call off everything, and he’ll make public that he was totally wrong and Karswell is totally right. The haughty Karswell says it is far easier to start things than to stop them. Karswell does want a public apology, but privacy for himself and his followers. Harrington asks if he’ll stop this event, but the clock sounds, and Karswell asks for the parchment he gave him. Harrington says the parchment burned and that he couldn’t stop it. At that point, a visibly distressed Karswell rushes Harrington to return home, saying he will do everything he can. Professor Harrington quickly exits, profusely thanking Karswell.

Again returning home via the woods, Harrington quickly surveys his house and property. He drives into a carport, exits, and closes the double doors. In the woods, sparks form, and then a cloud of smoke appears amid chirping noise. From the smoke, a giant horned demon appears, approaching Harrington, who audibly screams. The smoking demon keeps approaching as Harrington rushes to his car to escape. Unfortunately, he backs into an electrical pole, which begins to spark and smoke. Exiting the car, the demon confronts the injured man and soon claws him to death.

A scientist, John Holden (Dana Andrews), tries to sleep on his flight to London to attend a convention. The woman directly behind him keeps him awake by working with the light on, so he can’t sleep. The woman tries to change seats so she won't disturb Holden, but no seats are available. The plane soon lands.

At the airport, two men are waiting for Holden, replacing Professor Harrington, who is dead. The British press, interviewing John Holden, is told that the convention he is attending is on paranormal psychology. Holden is very skeptical of those who believe in the supernatural. In close proximity, Joanna Harrington (Peggy Cummins), the niece of the murdered professor, tries to call his house unsuccessfully, unaware of his demise. Two British scientists, Mark O’Brien (Liam Redmond) and Lloyd Williamson (Ewan Roberts), examine ancient woodcut sketches of demonology used in the Karswell devil-cult investigation. Holden quickly showers, and one of the men shares that Professor Harrington was electrocuted when his car hit power lines. One of the local farmers, Rand Hobard (Brian Wilde), who identified himself as a cult member, agreed to speak up, was recently arrested as a murderer, and has since become catatonic. O’Brien is more sensitive to demonology and witchcraft, while Holden totally scoffs at such beliefs. Suddenly, an Indian psychic researcher, Kumar (Peter Elliott), interrupts the men. Holden asks about his views on devils and demons, and Kumar replies that he believes in them. Karswell telephones Holden and asks him to mind his own business and call off the conference’s efforts to debunk him, but Holden refuses. They prepare, trying to get Rand Hobart to speak at the conference.

At the British Museum, Holden researches the occult, but one book is unavailable. Karswell approaches and states he possesses the greatest library in the world on demonology, and he has the missing book Holden is seeking, which he will make available to him. He introduces himself as Julian Karswell. The genial Karswell invites Holden to his house in the country, but Holden says he is not open to calling off the investigation. At that point, Karswell secretly passes a paper with runic symbols and offers Holden his address card. The calling card has special ink that says he has two weeks. When Holden presents the card to the librarian, the special ink has disappeared. Holden has the card tested for the special ink, but they find nothing.

John Holden attends Professor Harrington's funeral, and his niece spots him there. They approach one another, and Joanna says they must meet right away. Holden tells her to call his hotel tonight. Later, in his hotel room, Joanna tells John to stop her uncle’s project because she believes John’s in danger. She gives him her uncle’s notebook, and Joanna believes something horrible occurred to Harrington. The notebook explains that Karswell slipped him the paper containing runic symbols before his sudden death. The notebook explains how the parchment flew into the fire and burned. Joanna is convinced her uncle died due to supernatural events, but Holden holds those views to be delusional. Joanna storms out of the hotel room as Holden stops her. He invites her to see Karswell tomorrow night to borrow that book.

Driving out to the massive estate, Holden finds many cars parked in front of his mansion. Exiting the car, the sound of many children chattering is heard. Karswell, dressed as a clown, entertains the seated children on a makeshift stage. The so-called “Dr. Bo-Bo the Magnificent” performs magic tricks for the kids. Karswell sees Holden and Joanna observing, and he explains that he sponsors a Halloween party for the village children. He used to earn his living performing as a clown. Karswell calls his mother over to serve them some homemade ice cream, but only Joanna accepts and wanders off with Mrs. Karswell. Karswell and Holden tour the property and discuss the reality of witchcraft and the mind vs. imagination. Karswell wishes aloud that we could preserve childhood joys for simple beliefs. To prove his beliefs, Karswell conjures up something: a quickly developing wind-driven storm, lightning striking tree branches and severing them. Both children and their parents scurry for cover as objects blow across the lawn. Karswell apologizes, for the wind is stronger than he calculated. He concocted all this to convince Holden of his powers. Karswell declares John Holden will die on the 28th of this month at 10 p.m., just three days from now. For Holden, calling off the investigation is the only way out. After the guests leave, Karswell tells his mother that he can’t give life back. All he owns is from the cult, and he has to keep following in their ways.

Returning to his hotel room, walking the halls, Holden hears the strange sounds that Professor Harrington heard when the fire demon appeared to him, which he learns later is a distortion of an Irish folk song about the Devil. Holden pauses and observes. As he approaches a door, Kumar and O’Brien open it, bright light spilling out from inside. Holden invites them to his room, close by, for a nightcap. Holden tells the others that Karswell is a massive faker who uses mass hysteria and autosuggestion to convince people of demons. O’Brien says, “You say show me, and I say look for yourself.” In Holden’s planner, O’Brien notices that after the 28th, all the pages have been torn out. For the first time, Holden looks concerned.

Holden and Joanna are having a candlelit dinner during a raging thunderstorm. Joanna shows Holden a passage from “The Rime of the Ancient Mariner” that talks about evil following behind you. Harrington wrote notes that all pages of his desk calendar were pulled out after the 22nd, the day he died. Looking at and reading Professor Harrington’s journal, Holden says a parchment must be passed, and the intended victim must accept it without knowing. Joanna asks if he accepted a parchment, ancient runes from Karswell, and he says something could have been passed when he saw Karswell at the British Museum. He goes to check his papers. Inside his valise, inside a filing folder, he finds the parchment. Crazy winds blow it out of his hand toward the fireplace. A fireplace screen prevents the parchment from burning until the winds calm and the parchment falls. Holden places the parchment inside his wallet.

Holden drives out to Hobard’s rural farmhouse. A farmer with a shovel tells Holden to get off the property. Reluctantly, Holden is invited inside. Mrs. Hobard greets him. Several men enter the front room. Holden says he wants to use her son in scientific research to find out what drove him out of his mind. Holden presents a release paper to Hobard’s mother to sign. She does, and Holden is rushed to leave.

Holden takes a cab to a British home and meets Joanna outside. Joanna won’t explain what will happen inside, but she says Mrs. Karswell wanted to help him by exposing him to a supernatural incident. Mrs. Karswell meets the duo at the door and says Mr. Meek (Reginald Beckwith) will be here any second. Mrs. Karswell describes Mr. Meek as a remarkable medium, and he will conduct a séance here.

Mr. Meek arrives, very personable and chatty, and starts the séance directly. As the room darkens, some attendees sing along to the record, “Cherry Red.” And Mr. Meek, with closed eyes, seems to slip into a trance. The record is stopped as Meek seems to be having a violent seizure. Then he falls quiet before presenting himself as Mr. MacGregger, with a fresh voice and personality. He invites Joanna and John into the circle. Then Meek transforms into a young child calling for Mommy because she lost her doll. Then Meek assumes the personality and voice of Joanna’s late uncle, who warns Holden of being another victim of Karswell. Then he dramatically relives his final seconds when the demon appeared. Holden, who is incensed by the concept of a séance, abruptly turns on the lights. Holden and Joanna abruptly exit. Mrs. Karswell follows them out. Julian Karswell, sitting in a parked car, tells his mother to let them go.

John and Joanna drive to Karswell’s estate, but the entrance gate is locked. John won’t allow Joanna to proceed alone, so John ventures through the woods to enter the mansion. No music plays as wild animal sounds fill the soundtrack. John nears the house as he eyes a second-story open window. Climbing to get inside, heading downstairs. As he slowly descends the stairway, another hand behind him grabs the banister. Entering a small room, John encounters a cat. Looking for the book Joanna needs, John finds a notebook with torn pages. The door slams shut, and the harmless cat transforms into a full-sized leopard and attacks John. As John fights off the leopard and grabs a fire iron to strike the animal, Karswell appears nonchalantly, turning on the lights. He says John had confronted a minor demon he had conjured to protect the room. John decides to leave the way he entered: through the woods.

Entering the woods, this time, animal noises are accompanied by a musical score. A full moon shines ahead. A branch snaps and almost strikes John in the head. A chirping sound announces the demon’s presence as smoking footprints approach in the dirt, and sparks and smoke appear in the sky. A fireball forms and begins chasing John, who appears concerned. John runs for his life as dramatic music swells. The fireball seems to grow and gets closer. John falls, only to see the fireball shrink. A look of horror erupts on John’s face. Joanna and John report all this to a disbelieving police department. At the station, Holden announces his disbelief in supernatural forces and indirectly insults Joanna.

Hobard is being transported by ambulance to the convention. At the same time, Mrs. Karswell is trying to reach Holden to offer help, and she even tries to contact Joanna. His mother approaches Karswell and tries to make him understand, but he announces that his mother doesn’t understand. Mrs. Karswell stands alone and cries as Karswell approaches Joanna in her car.

The Hobart ambulance arrives at Victoria Hall ready for the demonstration. Hobart is wheeled onstage as John Holden turns the show over to Professor O’Brien, who attempts to hypnotize a comatose man who admits to being part of a devil cult. First, Hobart receives a shot to revive him. Seconds of quiet waiting pass, and then Rand awakens, screaming and jumping off his cart, running amok. He is ranked to a seat where Holden attempts hypnosis, quieting the man. Under a spell, Hobart shares the beliefs of the ”true believer” that evil is good. And that by the joy of sin mankind will find itself again. He reveals that Julian Karswell taught him this belief. O’Brien mentions, “It is the night of the demon,” and Hobard seems to grow visibly uneasy and says that his time allowed is over. Holden shows him the parchment, and Hobard starts panicking, thinking Holden is trying to pass it to him. Hobard mentions that the demon took the parchment-giver when he secretly passed it back to him. With superhuman strength, Hobard attacks Holden, jumping out of a window high above ground level, killing himself.

Holden borrows a car to go to Karswell’s home to return something to him. Kumar tells Holden he isn’t home tonight, that he planned to take the 8:45 train to Southampton. Holden speeds to the train station and just barely boards the train to Southampton. He takes the parchment out of his wallet and puts it in his jacket pocket.

Holden soon finds the compartment where Karswell sits with Joanna. She has been hypnotized to stop idle chatter. Joanna reveals that Karswell is quite terrified of Holden. Holden offers him a letter saying he was right and that he can send it to newspapers. But Karswell states it is now too late for that. He offers Karswell a cigarette, which he passes up. Holden asks for a match and tries to pass the book back, but Karswell refuses it. Karswell attempts to leave the compartment, but Holden makes him stay. You’re staying with me. Karswell.” Then two policemen arrive, allowing Karswell to leave, and Holden slips him his coat. The devil-worshipper knows immediately that he also slipped the parchment.

The parchment flies out of Karswell’s hand and floats down the train car corridor, then outside the train, leading him down the train tracks. Karswell, in mortal fear, chases the parchment down the tracks, and the parchment finally burns. That strange chirping sound returns as the smoke and sparking return. The demon returns in full glory, approaching him and tearing the fragile human apart.

Holden looks at the station clock, which reads just after ten. As Holden is about to look at the body burning on the tracks, Joanna states, “Maybe it’s better not to know!” Holden tells her she’s right, and they walk off the train platform together. A train whistling passes by as the credits come up.

CRITIQUE

This 1957 top half of a double feature here in America was truncated to fit time-wise; the British version, The Night of the Demon, is about 10 minutes longer and adds real substance. Executive Producer Hal E. Chester was best known for producing the Joe Palooka movie series and several prestige productions, including The Beast from 20,000 Fathoms. But he was entirely a commercial producer who favored making a buck over artistic expression.

When director Jacques Tourneur was hired as director, he was best known for working in the Val Lewton factory, directing movies such as Cat People, I Walked With a Zombie, and The Leopard Man, films praised for their artistic integrity and the subtle suggestion of horror. Tourneur opposed showing the demon and preferred to suggest its presence. Chester, who favored bombast over subtlety, wanted to show the monster often. The two clashed.

While the artistic side of horror cinema makes me favor Jacques Tourneur’s opinion, I love nothing more than a good monster executed well. And the gigantic horned demon is a fantastic monster for the times and definitely improves the movie overall. Should it be shown in the initial scene where Professor Harrington is killed? I think the sparking and smoke are more than enough for this early sequence. Even Harrington backing up the car and electrocuting himself is suspenseful enough to save the demon for later scenes. But I think it would be a mistake to never illustrate the demon from Hell. It’s just too awesome a monster not to show.

The film’s musical score by Clifton Parker is never mentioned nearly enough or recognized for the well-crafted music he executes. The title music is just so dramatic and quite memorable. Just like James Bernard’s score for the 1958 Horror of Dracula, so much of the score is haunting ear candy, and parts immediately stick in one’s mind. And it remains one of the more dramatic scores in the horror genre.

Niall MacGinnis' performance as Julian Karswell is one of the best characterizations in all of horror cinema. He is expertly crafted to be a sympathetic villain, a bad guy who is not actually a bad guy at all. Oh, yes, he does assassinate innocent people, but by passing them the runes and then terrifying them, he only asks for anonymity for himself and his followers and is always willing to call his evoked demon off the victims. He always gives each victim a way out, and he’s willing to rescind the curse. He is shown to be a bachelor who lives a private life with his mother, most likely a homosexual. He is also Dr. Bo-Bo the Magnificent, a clown who entertains village children with his playful magic tricks. He evokes windy thunderstorms to warn his intended victims, trying desperately to scare them off before he is forced to kill them. The victim’s stubbornness and inflexibility poison their minds, keeping them from considering this newer/older philosophy. Basically, Karswell doesn't want to convince anyone of anything; he just wants to be left alone.

His mother, Mrs. Karswell, is highly sympathetic, trying many ways to convince John Holden of a supernatural world he fails to understand. She takes him to a séance. She pleads with her son to please leave Holden alone. She recognizes her own son well enough to convince others to simply believe in his mastery of ancient powers. She even cries when she can't effect change between individuals.

The film’s final mind games while on the train to Southampton are cat-and-mouse trickery at its best. Holden now believes in supernatural forces, but it's too late to break the curse. The only recourse is to sacrifice Karswell’s life for his own. He must pass the runes to Karswell without him realizing it. On the train, Karswell refuses matches, a letter from Holden, and cigarettes. Eager to get off the train when the police arrive, Karswell lets his guard down and accepts Holden's coat, realizing he's made the biggest mistake of his life by taking the runic symbols back.

Director Jacques Tourneur pays tribute to his creative master producer, Val Lewton, by creating a Lewton “bus,” or shock sequence, that appears out of the blue. When Holden is walking in the woods after leaving Karswell’s mansion, a tree branch swings out of nowhere almost directly in Holden's face, frightening the audience. We have the sequence where a family cat transforms into a killer leopard, and we have a second “bus” where a close-up of a hand grabs the banister behind Holden, as a stinger accents the quick motion.

When it comes to the 1950s, Curse of the Demon is just about the only film to challenge Hammer’s Horror of Dracula as the horror film of the decade. Both films do different things well, and both films are classics of horror cinema, boasting effective special effects, solid direction, and great screenplays; the adaptation of M.R. James’ Casting the Ruins by Charles Bennett is primarily a gripping screenplay with a terrific payoff. It is utterly amazing that a B-feature, in black-and-white, with a cast of relatively unknown European professionals, save for American Dana Andrews, was involved in such a moderately budgeted classic horror film that endures to this day.

IF YOU MADE A HORROR FILM, WOULD YOU NOT SHOW THE MONSTER SUCH AS THIS HORNED DEMON?

JOHN HOLDEN (DANA ANDREWS) CONFRONTS DEMONIC CULT LEADER JULIAN KARSWELL (NIALL MACGINNIS).

garysvehla509@gmail.com

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