Released in the U.S. under
the deceptive moniker The Devil’s Widow,
this strange thriller is a uniquely Celtic bit of business that was filmed and
released in the UK as The Ballad of Tam
Lin. Based on an old Scottish myth, which evolved over centuries of
adaptations in literature and song, The
Devil’s Window is the only movie directed by veteran actor Roddy McDowall.
A gifted photographer, McDowall approached the task of making his first movie
with predictable visual flair. However, he demonstrated zero affinity for
storytelling. McDowall even did a poor job of modulating performances, because
the acting in The Devil’s Widow runs
the gamut from excellent (leading man Ian McShane) to mediocre (ingénue
Stephanie Beacham) to terrible (top-billed star Ava Gardner). That said,
perhaps something was lost in translation while the movie crossed the pond,
because the behavior of the characters often seems inexplicable to American
eyes. And when the picture transforms into a full-on supernatural horror show
during the climax, the tonal shift is bewildering.
The film begins at the
sprawling Scottish estate of Michaela Cazaret (Gardner), a middle-aged woman of
unclear national origin who populates her castle and its grounds with swinging
young people. One of them is Tom Lynn (McShane), who is Michaela’s current
lover despite being many years her junior. When Tom meets pretty and wholesome
local girl Janet Ainsley (Beacham), daughter of the town vicar, he slips away
from Michaela to begin a relationship with Janet. Michaela responds viciously,
culminating in the final sequence wherein she uses drugs and/or enchantments to
drive Tom mad. Throughout most of the picture, the nature of Michaela’s
household is completely unclear; on the one hand, she seems to exert mind
control over her young playthings, and yet on the other hand, Tom demonstrates
free will. Similarly, the reasons behind Janet’s attraction to Tom are
mysterious, especially when she realizes that Michaela is some sort of dragon
lady with otherworldly powers.
McDowall tries to mix cynical vignettes of world-weary
party people with lyrical passages of young lovers shutting out the rest of the
world, and the two elements clash. Moreover, the characterization of Michaela
never makes sense. Is she crazy, magical, or just lonely? Gardner’s unfocused
performance provides few clues. The
Devil’s Widow looks lovely, thanks to intricate lighting by cinematographer
Billy Williams, and McDowall deserves credit for trying a few interesting
things, such as a scene comprising freeze frames and several weird effects
during the finale. What all of it means, however, is anybody’s guess.
The Devil’s Widow: FUNKY
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