Dr. John Holden ventures to London to attend a paranormal psychology symposium with the intention to expose devil cult leader Julian Karswell. Holden is a skeptic and does not believe in Karswell's power. Nonetheless, he accepts an invitation to stay at Karswell's estate, along with Joanna Harrington, niece of Holden's confidant who was electrocuted in a bizarre automobile accident. Karswell secretly slips a parchment into Holden's papers that might possibly be a death curse. Recurring strange events finally strike fear into Holden, who believes that his only hope is to pass the parchment back to Karswell to break the demonic curse.Written by
Rick Gregory <firstname.lastname@example.org>
Peggy Cummins' convertible sports car is a Sunbeam Alpine Mark I, manufactured by the Rootes Group in Ryton and Park Royal, London, England from 1953 to 1955, license plate NLJ 666. See more »
When Holden visits Stonehenge the shot pans from the car toward the Stones. The car's door is left open, wavering in the breeze. Yet this is the passenger door, and as Holden is carrying nothing save the runic parchment, and he is alone, there is no reason for this door to be open. See more »
It has been written since the beginning of time, even unto these ancient stones, that evil supernatural creatures exist in a world of darkness. And it is also said man using the magic power of the ancient runic symbols can call forth these powers of darkness, the demons of Hell.
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Despite bearing the title "Curse of the Demon", the print currently available on videotape and television in the USA is actually the original longer (UK) cut. See more »
Crafty, stylish thriller with one hell of a demon...
Delectably sinister, crafty occult entry from director Jacques Tourneur, who creates a tense, eerie mood for thriller about an American psychologist in England investigating the death of a colleague which may stem from witchcraft. Hal Chester and Charles Bennett adapted Montague R. James' book "Casting the Runes", and reportedly quarreled over the occult elements in the script--with Barrett's attempts at a more subtle approach going unrealized (arguably, we get too many close-ups of the demon at hand, but he's a scene-stealer nevertheless!). There are many witty, amusingly dark bits of business here, and Tourneur is able to weave this Hitchcockian tale with a great deal of hypnotic style. In the lead, Dana Andrews--a stern, no-nonsense actor--may seem a bit stolid in these unusual surroundings, however he's portraying a born skeptic and should look uncomfortable. Niall MacGinnis, as sort of a mama's boy/devil cult leader, is just amazing, one of the very best villains in 1950s cinema. Supporting performances are all first-rate, the picture looks fantastic in chilly black-and-white, and the satisfying finale leaves one both smiling and hungry for more. ***1/2 from ****
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