The Blood on Satan’s Claw (1971)

 

Director: Piers Haggard

Stars: Patrick Wymark, Linda Hayden, Barry Andrews

Short Review, no spoilers

Cult British witchcraft horror produced three years after Witchfinder General and with an eye on the success of the latter; notable for its subsequent appreciation as an example of folk horror, its atmospheric location shooting, and effective soundtrack.

Full Review (spoilers)

The Blood on Satan’s Claw emerged in the wake of Witchfinder General (1968), exploring similar subject matter without receiving as much initial acclaim as its predecessor. However, it has gained cult status over the years, as recently acknowledged by Mark Gatiss in his tribute to its influence on the brilliantly disturbing The League of Gentlemen TV series. It’s also interesting for its differing position on witch-hunting to the Vincent Price-starring classic - here the witches are real, and the witchfinder is not as straightforwardly dastardly, ultimately saving the day as he does in a village riddled with young ‘uns corrupted by devil-worshipping witchery. This is perhaps due to the context of the Manson murders and trial (1969), reflecting as it seems the ‘free love’ hippy dream turned sour, and subsequent terror of radical, hopped-up, out-of-control kids easily influenced and corrupted by evil.

The film was shot entirely on location, predominantly in Oxfordshire, and captures the English rural landscape very well. Essential to the effectiveness of the film, it brings atmosphere and authenticity. The excellent soundtrack is also beautiful to listen to, and an example of film music that can be enjoyed in its own right. It is also interesting to note that composer Marc Wilkinson is said to have advised Paul Giovanni, who sound-tracked the more famous bedfellow of the so-called folk horror sub-genre, The Wicker Man.

The film itself is a very entertaining horror of its kind, although we do have the tired cliché of witch movies whereby a manipulative saucepot cries rape unjustly - against an honest schoolteacher priest no less! Also, typically of exploitation film there is an unnecessary big-titted temptress at the end, wobbling around daftly as a hypnotised youth wields a knife. Nevertheless, Linda Hayden as said saucepot is very good, suitably troubling and demonic.

It’s engaging throughout, making it a shame that the final confrontation is disappointing - the demon is revealed more thoroughly and subsequently looks ridiculous. The monster around which these disturbing events revolves is far scarier before with the less-is-more approach.