Few movies capture a sense of authenticity with their setting as does The Blood on Satan’s Claw (1971.) Of course, we don’t know what it was really like living in the 18th century, but after watching this film, I’d swear this was it… a gloomy countryside where the sun never shines, stone buildings that look like they’re already hundreds of years old, big hats and fancy collars. The characters even speak in a consistently convincing way, e.g., “Be that true?” and “Knew you any such?”
Sandwiched between Witchfinder General (1968) and The Wicker Man (1973), the three films comprise an early trilogy of “folk horror,” a subgenre that has regained popularity in the last few years, if the output is any indication. All have a similar look and feel, but I think this one does it best, perhaps because it has less “star power.” There’s no horror superstar like Vincent Price or Christopher Lee to put on the marquee; however, we have the excellent Patrick Wymark.
Well, I guess Wymark also appeared in The Wicker Man, but here he plays The Judge, who seems to be the person with the most authority in the small village. I don’t know the structure of the org chart, but if a squire is superior to a judge, Squire Middleton (Simon Williams) is a buffoonish leader. He seems more the person in charge when The Judge is away on other business, but becomes his lackey when he returns. The Judge is the non-believer…
Doctor, witchcraft is dead and discredited. Are you bent on reviving forgotten horrors?
…but you get the sense that he knows what’s going on and is just trying to prevent the others from grabbing their pitchforks and torches. The Doctor (Howard Goorney) to whom he refers goes against type as the man of science because he’s the believer. He presents The Judge with an old volume that contains history of Satan worship and witchcraft. To his credit, The Judge takes it with him back to the city and says, “It might merit further study.”
The final archetype is a man of God, Reverend Fallowfield (Anthony Finley.) After Ralph Gower (Barry Andrews) plows over the remains of a demon, we witness much of the strange behavior that occurs through Reverend Fallowfield’s eyes. He’s also the teacher of a classroom of teens (some looking much older) and this is the only place we see them all together and feel a sense of evil expanding throughout the community.
Following the opening scene with Ralph and the remains of the demon, which has a worm or snake crawling over an eyeball that hasn’t deteriorated, the best scene involves Reverend Fallowfield and the head of the coven, Angel Blake (Linda Hayden.) She arrives to tempt him, dropping every bit of her clothing and says, “We want you with us, sir.” He’s of strong will, though, and successfully sends her on her way. (Hayden was only 17 when the film was made.)
There are unsettling moments in The Blood on Satan’s Claw. A good movie in this subgenre doesn’t need to explain everything. Thus, I never understood why some people grew thick patches of hair on their bodies. I take that back, it’s so we can have a squirm-inducing scene in which The Doctor cuts one off a character’s thigh. The film is moody and atmospheric but I felt in no way a “slow burn.” 97 minutes go by at a healthy pace.
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