The Devils

The Devils
Name	The Devils
Director	Ken Russell
Based on	Jean-Paul Sartre, Aldous Huxley
Starring	Vanessa Redgrave, Oliver Reed, Diana Dors, Dudley Sutton
Music	Peter Maxwell Davies
Cinematography	Dick Bush
Release date	1971
Country	United Kingdom
Language	English

The Devils is a 1971 British historical drama film directed by Ken Russell, adapted from the play by John Whiting and the book by Aldous Huxley, itself inspired by the 17th‑century trial account of Urbain Grandier by Jean de Laubardemont and historiography such as Michel Foucault's analyses. The picture intertwines figures from 17th century France, ecclesiastical politics of Cardinal Richelieu, and controversies surrounding exorcism, hysteria, and state power, creating a collision of religion, sexuality, and authority portrayed by a prominent ensemble including Vanessa Redgrave and Oliver Reed.

Background and origins

The project grew out of creative intersections among Ken Russell's cinematic provocations, Aldous Huxley's nonfiction work The Devils of Loudun, and John Whiting's theatrical adaptation, with influence from scholars like Norman Cohn and writers such as Friedrich Nietzsche, Georges Bataille, and Sigmund Freud. Financing and production involved companies and figures tied to British Lion Films, Paramount Pictures, and producers who had worked with Harold Pinter and Bryan Forbes. The screenplay integrated archival sources from Archives Nationales (France) and the historiography of Antoine Arnauld and Marie de l'Incarnation, filtered through Ken Russell's visual language shaped by his work at BBC Television and collaborations with Tony Richardson and John Schlesinger alumni.

Plot and themes

Set in Loudun during the 1630s, the narrative follows accusations of demonic possession among Ursuline nuns, centering on the accused priest, Urbain Grandier, and the political machinations of Cardinal Richelieu's emissaries, judicial authorities such as Marin de Court figures, and local magistrates influenced by ministers aligned with the French Crown. The film dramatizes courtroom scenes, exorcisms, and a spectacular depiction of ecclesiastical rites mingled with eroticized imagery, invoking intertextual references to Baroque art, Counter-Reformation, and episodes from Roman Inquisition histories. Key themes include the abuse of power as explored by Thomas Hobbes-era sovereignty debates, the construction of hysteria as examined by Jean-Martin Charcot and Michel Foucault, the politics of martyrdom resonant with Reformation narratives, and the representation of sexuality echoed in works by Georges de La Tour and Caravaggio.

Major characters

- Urbain Grandier (portrayed by Oliver Reed), a charismatic priest whose conflicts with civic leaders mirror confrontations documented in trials like Trial of Joan of Arc and depicted with echoes of protagonists from Renaissance tragedies. - Sister Jeanne (portrayed by Vanessa Redgrave), an Ursuline nun whose alleged possession and visions invoke comparisons with historical figures such as Catherine de' Medici's court intrigues and literary characters from Jean Racine. - Cardinal Richelieu (represented by court officials and envoys), connected to centralizing policies associated with King Louis XIII and diplomatic maneuvers comparable to episodes in the Thirty Years' War. - Supporting roles include abbesses and judges analogous to historical actors like Father Joseph and provincial governors, portrayed by actors with links to stage and film traditions including Diana Dors, Dudley Sutton, and collaborators from Royal Shakespeare Company alumni.

Production and adaptations

Principal photography took place with cinematographer Dick Bush and composer Peter Maxwell Davies, combining studio sequences influenced by Peter Greenaway's later mise-en-scène and location work recalling productions by David Lean and Pasolini. Costumes and set design drew on collections from institutions such as the Victoria and Albert Museum and research into 17th‑century French liturgical garments catalogued by Bibliothèque nationale de France. The film spawned adapted stage versions, debates in Royal Court Theatre and National Theatre, and influenced operatic treatments and radio dramatizations broadcast by BBC Radio 4 and staged at houses like English National Opera and festivals including Edinburgh Festival Fringe.

Reception and controversy

Upon release, the film provoked censorship actions by boards including the British Board of Film Classification and controversies in markets influenced by standards advocated by Motion Picture Association of America policies; some countries invoked bans citing depictions that ignited debates involving Roman Catholic Church authorities, conservative politicians such as members of House of Lords, and critics from outlets like The Times and The New York Times. Scholars and reviewers compared the work to provocations by Luchino Visconti, Pier Paolo Pasolini, and Luis Buñuel, while defenders invoked artistic freedom echoed in statements by Ken Russell and defenders from organizations like British Film Institute and civil liberties groups such as Amnesty International.

Cultural impact and legacy

The film remains a touchstone in discussions of cinematic transgression alongside films like A Clockwork Orange and The Last Temptation of Christ, influencing directors including David Cronenberg, Tim Burton, Pedro Almodóvar, and curators at institutions like the Museum of Modern Art and British Film Institute. Academic discourse has situated the film in studies by historians and theorists from Cambridge University Press and journals such as Film Quarterly and Sight & Sound, engaging with themes explored by Roland Barthes, Judith Butler, and Laura Mulvey. Revival screenings, restorations overseen by archives such as the British Film Institute National Archive and retrospectives at festivals like Cannes Film Festival and Venice Film Festival continue to prompt reassessment of its aesthetics, politics, and contested place in cultural history.

Category:1971 films Category:British historical drama films Category:Films directed by Ken Russell