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Eye of the Devil, also known as 13,[2] is a 1966 British mystery horror film directed by J. Lee Thompson and starring Deborah Kerr, David Niven, Donald Pleasence, Sharon Tate and David Hemmings. The film is set in rural France and was filmed at the Château de Hautefort and in England.[3] Eye of the Devil is based on the 1964 novel Day of the Arrow by Robin Estridge and was initially titled Thirteen.[4]

Eye of the Devil
Theatrical release poster
Directed by	J. Lee Thompson
Screenplay by	Robin Estridge Dennis Murphy
Based on	Day of the Arrow by Philip Loraine
Produced by	John Calley Martin Ransohoff
Starring	Deborah Kerr David Niven Donald Pleasence Sharon Tate David Hemmings
Cinematography	Erwin Hillier
Edited by	Ernest Walter
Music by	Gary McFarland
Production company	Filmways Pictures
Distributed by	Metro-Goldwyn-Mayer
Release dates	18 November 1966 (1966-11-18) (Milan) 31 March 1968 (1968-03-31) (United Kingdom)
Running time	96 minutes
Country	United Kingdom
Language	English
Budget	$3 million[1]

Plot

Philippe de Montfaucon, Marquis de Bellenac,[5] (David Niven) hereditary owner of an ancient estate in Bordeaux whose vineyards have produced no fruit for three years, lives in Paris with his devoted wife and two young children. He is abruptly summoned to Bellac, where a sinister priest (Donald Pleasence) gives him a strange amulet. After their son, Jacques, dreams that his father needs him, the Marquise (Deborah Kerr) takes their children to the chateau. When they arrive, archer Christian de Caray (David Hemmings) shoots a dove, which falls at Catherine's feet. Questioned, Philippe’s Aunt Estelle observes that Christian is “a very wicked boy” and his sister Odile (Sharon Tate) is “no better.” She dismisses Catherine, telling her maid “This time, I can't be involved.”

Late at night, Catherine discovers Odile and Christian ceremoniously carrying the impaled dove into a candlelit room where robed figures sit. They present the dove first to an altar whose cross resembles the amulet and then to the figure sitting at the head. The doors close in Catherine's face, and an old man warns her to take her children and never return.

Philippe dismisses Catherine's concerns—the valley is steeped in ancient superstition. He speaks of his family's 1000-year history in Bellenac: He has grave responsibilities. His Aunt tells him she would “rather die” than “say anything” to Catherine, and begs him to flee. Meanwhile, Odile enchants Jacques by changing a toad into a dove.

A family friend, Jean-Claude, helps Catherine discover the Montfaucon history: 22 heads of the family have died in “mysterious circumstances”, going back to the 1200s. Meanwhile, Philippe visits the blighted vineyards and returns to learn that Catherine has ridden out to the tomb of Edouard de Montfaucon. There she finds a carving matching a painting in the chateau and an inscription referring to twelve dancers. Emerging from the mausoleum, she is pursued by robed figures, faints, and revives in her bed. Philippe gives her a sedative and kisses her. She wakes from nightmares to find herself locked in. Breaking open the window shutter, she signals Estel, who sends her maid.

Catherine wakes, and all is normal. The doctor tells her she was given belladonna, a hallucinogen. The community is celebrating “Les 13 Jours”. People fill the church, where Père Dominic prays in Latin. Philippe kneels alone; Estelle and the children sit in the front pew. Philippe pauses when he sees Catherine, but the priest repeats “Procedamos in pace” (Proceed in peace). Outside, 12 robed figures form a circle in front of Philippe and sway from side to side. Philippe kisses Jacques; the crowd gasps. Philippe welcomes all to the Festival, paraphrasing Genesis 1:11: “Let the Earth bring forth vines, yielding fruit after its kind, whose seed is in itself, upon the earth, and the Word was God”. Estelle screams.

In her room, for Jacques's sake, Estelle reveals to Catherine that her brother Alain, Philippe's father, did not die, but ran away, to escape. He now lives in the tower above. Upstairs, she recognizes Alain, who warned her. He explains: Les Treize Jours/Jouyeurs, the 13 days/dancers, are the 12 apostles dancing around Christ, or in the case of the heretic town of Bellenac, a living god suitable for blood sacrifice. Père Dominic, a pagan, celebrates a Black Mass. When Philippe kissed Jacques, it showed that Philippe was doomed.

Elsewhere, Jacques watches the priest praying over his father. The priest brings Catherine to Philippe. Detached, he tells her it can't be stopped. No one will believe her—No one ever has. He is dying for what he believes, for his people and his faith. He rides away with 12 robed figures and Christian. Catherine escapes, but is too late. Philippe's body is brought home through the vineyards. Jacques watches.

Cut to torrential rain, Jean Claude reading a newspaper account of the “accident”. As he drives the family away, Jacques insists he left his watch behind. Inside, the priest is waiting for him. Jacques kisses the amulet and runs back to the car.

Cast

• Deborah Kerr as Catherine de Montfaucon, Marquise de Bellenac[2][5]
• David Niven as Philippe de Montfaucon, Marquis de Bellenac[5]
• Flora Robson as Countess Estelle, Alain's sister[2]
• Donald Pleasence as Père Dominic
• David Hemmings as Christian de Caray
• Sharon Tate as Odile de Caray
• Edward Mulhare as Jean-Claude Ibert[2]
• Emlyn Williams as Alain de Montfaucon, Philippe's father[2]

Production

Development

Anthony Boucher praised the novel The Day of the Arrow (1964) in his Criminals at Large column in The New York Times' March 1, 1964 edition.[6] Observing that, although “men can enjoy them very much indeed”, “the Daphne Du Maurier— Mary Stewart—Victoria Holt sort of novel of mystery, menace and romance, is addressed primarily to a feminine audience...(Therefore) It is somewhat comforting...to encounter (this novel) which tells very much the same kind of brooding, atmospheric story, in very much the same kind of setting (an ancestral castle in the Auvergne), but from a male viewpoint and with a mind working in a completely masculine manner. And I hope that women may enjoy this as much as I have enjoyed, say, Norah Lofts or Evelyn Berckman—with both of whom the tale shares certain affinities...The castle and its village are called Bellac, but this is very far (geographically and spiritually) from the birthplace off Jean Giraudoux. This is a setting for highly civilized and aristocratic nightmare, as a young Scottish painter tries to identify the sinister forces that are taking control of his friend the Marquis. The answer will come as no surprise to anyone who has ever leafed through The Golden Bough, but its obviousness in no way diminishes its power. The book is as full of tantalizing and terror‐hinting symbols as a pack of tarot cards, and as oddly vivid in its invented folklore as Ngaio Marsh's Death of a Fool.[7] The character of the young painter is not in the film,

Martin Ransohoff of Filmways bought the film rights; he had a multi-picture deal with MGM.[8]

Robin Estridge, who wrote the novel under the pseudonym “Philip Loraine”, wrote the screenplay. Dennis Murphy[9] is also credited on screen. Terry Southern was brought in to do an uncredited "tighting and brightning" of the screenplay.[10]

Kim Novak was originally signed to play the lead.[11] (Novak had signed a three-picture deal with Ransohoff in 1961.[12]) David Niven joined her as co-star. It was the first feature film for Sharon Tate, who had been discovered by Ransohoff when she went to audition for Petticoat Junction; he was impressed and put her under a seven-year contract.[13] Tate had spent months studying and playing small roles at Ransohoff's expense before making her debut.[14] "Everybody should make an effort to show a new face in every major picture," Ransohoff said.[15]

The original director was Sidney J. Furie, who had signed a three-picture deal with Ransohoff.[16] In August 1965, shortly before filming was to begin, Furie was replaced by Michael Anderson.[17] When Anderson fell ill, he was replaced in turn by J. Lee Thompson.[18] Shortly before filming started, the title of the movie was changed to 13.[19]

Shooting

Filming started on 13 September 1965. Filming location was in and around Château de Hautefort in France and at M.G.M. British Studios, Borehamwood, England. In November, with only two weeks of shooting to be completed, Novak injured her back when she was thrown from a horse while doing an important scene on location in France.[20] The film was shut down while Novak sought treatment. She tried to resume filming two weeks later, but she was exhausted after only one day of work and was unable to go on. "There is no permanent damage to Kim's back," her husband, Richard Johnson, said. "It is not something that will trouble her for the rest of her life. She will recover eventually. It is going to take time and will not be an easy matter."[1] (Novak later said the injury was a broken vertebra.[21])

"It is tragic, but without Kim or a replacement, we cannot go on," David Niven said. "The person I feel most sorry for is director J. Lee Thompson. He has put everything into this picture."[1]

Novak was replaced by Deborah Kerr.[22][23] As a result, many scenes had to be reshot, with Novak seen only in some long shots.[23] Filming resumed with Kerr in December.[24]

However, David Hemmings recalls in his autobiography that he witnessed a bitter argument between Kim Novak and Martin Ransohoff near the end of filming and that led Kim Novak to be sacked and the film to be reshot with Kerr.[25][26]

When asked what it was like to act with such a distinguished cast, Sharon Tate said "Of course I was nervous but I was flattered rather than intimidated because everybody put me at such ease. They are such pros. You don't see their technique but when you are surrounded by the best it brings out the best in you."[13]

Alex Sanders, an English occultist and Wiccan, was hired as a consultant to give the pagan rites some authenticity.[27]

Notably, it was the last black-and-white film released by Metro-Goldwyn-Mayer. All the major studios effectively abandoned the process by 1967.

Critical reception and box office

The film features Sharon Tate's first speaking role in a feature film; she was cast by Filmways executive Martin Ransohoff, who hailed her as his great discovery (he had already given her a recurring role on The Beverly Hillbillies). The film attracted little attention and had little impact on Tate's career. A review in The New York Times referred to Tate's "chillingly beautiful but expressionless" performance.[28]

Although Eye of the Devil was not a commercial success in the United States when first released, it was popular in Europe, and it has acquired a degree of cult status, largely due to its surreal themes and the 1969 murder of Tate. The film is also notable for its distinguished supporting cast,[23] which includes veteran actors Donald Pleasence, Flora Robson, Emlyn Williams, Edward Mulhare and John Le Mesurier.

In 1968, the film was listed as one of only three Ransohoff films that did not make money, the other two being Don't Make Waves and The Loved One.[29]

Home media

Eye of the Devil was released to DVD by Warner Home Video on 21 February 2011 via its Warner Archive DVD-on-demand service as a Region 1 widescreen DVD.

See also

• List of British films of 1966

References

External links

• Eye of the Devil at IMDb
• Eye of the Devil at the British Film Institute
• Eye of the Devil at AllMovie
• Eye of the Devil at the TCM Movie Database

На других языках

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- [en] Eye of the Devil

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[ru] Глаз дьявола (фильм)

«Глаз дьявола» («Око дьявола») (англ. Eye of the Devil) — британский фильм 1966 режиссёра Джей Ли Томпсона, основой которого является оккультные и сверхъестественные темы. В главных ролях снимались Дебора Керр и Дэвид Нивен. События фильма происходили в сельской местности Франции, однако снят он был на территории Англии.

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