list http://www.spout.com/ Recent community activity around The Devils on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Devils/8967/default.aspx Title: The Devils
Year: 1971
Director: Ken Russell
Plot: The Devils was the Ken Russell film version of the controversial play by John Whiting. The story, based on Aldous Huxley's The Devils of Loudun, concerns controversial 17th century French priest Urbain Grandier, whose radical political and religious notions and profligate sex life earn him many enemies. When a group of nuns appears to have been "bewitched" by Grandier, his rivals feed on the resulting mass hysteria, using this incident as an excuse to have the priest arrested. Refusing to confess to being in league with Satan and to renounce his "heretical" views, Grandier undergoes appalling tortures, and is finally burned at the stake. Vanessa Redgrave co-stars as the head nun. Due to censorship issues in virtually every country in which The Devils has been released, running times vary greatly. ~ Hal Erickson, All Movie Guide
Times Tagged: 3
Number of Lists: 5
Number of blog posts: 2
SpoutRating: 3
]]>Thu, 19 Jun 2008 19:00:57 GMTThe Devils1971Ken RussellThe Devils was the <a href="/players/P___109334/default.aspx" style='text-decoration:underline'>Ken Russell</a> film version of the controversial play by John Whiting. The story, based on <a href="/players/P___161506/default.aspx" style='text-decoration:underline'>Aldous Huxley</a>'s The Devils of Loudun, concerns controversial 17th century French priest Urbain Grandier, whose radical political and religious notions and profligate sex life earn him many enemies. When a group of nuns appears to have been "bewitched" by Grandier, his rivals feed on the resulting mass hysteria, using this incident as an excuse to have the priest arrested. Refusing to confess to being in league with Satan and to renounce his "heretical" views, Grandier undergoes appalling tortures, and is finally burned at the stake. <a href="/players/P____59206/default.aspx" style='text-decoration:underline'>Vanessa Redgrave</a> co-stars as the head nun. Due to censorship issues in virtually every country in which The Devils has been released, running times vary greatly. ~ Hal Erickson, All Movie Guide3Slightly Tagged (1-5)523http://www.spout.com/ProductImages/v36598jbvgs.jpghttp://www.spout.com/films/The_Devils/8967/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/6/19/31428.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/19/2008 3:00:57 PM
Body: This week we have two big-time offenders: Mike Myers’ The Love Guru, which has brought concern from Hindus, because the comedy seems to be making fun of the Hindu religion; and Ron Howard’s Angels & Demons, the “sequel” to The Da Vinci Code, adapted from Dan Brown’s bestseller. Earlier this week, the Vatican banned the latter production from all Catholic churches in Rome. The following statement from Father Marco Fibbi, spokesman for the diocese of Rome, was a favorite quote from the story: “Usually we read the script but in this case it wasn’t necessary. Just the name Dan Brown was enough.” Of course, these days, religious organizations taking offense to a movie seems so commonplace that news like this is hardly even considered bad buzz. Neither The Love Guru nor Angels & Demons will be too aversely affected by the protests or boycotts. Both films will merely be added to the following list of major offenders (in alphabetical order so as not to offend anyone who thinks one is more offensive than another), as almost a genre cataloging than an inventory of condemned. Brokeback Mountain - Because of its promotion of “the homosexual lifestyle,” many right-wing Christian groups protested Ang Lee’s film. Most famously, it was pulled last-minute from a multiplex owned by Mormon businessman and Utah Jazz owner Larry H. Miller, though his motivation was not necessarily claimed to be religion-based. Despite there being hundreds of gay films throughout the years, because of its popularity, this one was the worst offender. The Da Vinci Code - I already mentioned this above and in a recent post on movies that overcame bad buzz, so I’ll make it short: banned, boycotted and protested throughout the world due to its blasphemous (and fictional) allegations that Jesus and Mary Magdalene had a child together. The Devils - Many of the following films were banned in Italy, but with Ken Russell’s blasphemous adaptation of Aldous Huxley’s “The Devils of Loudon,” there was also threat that stars Oliver Reed and Vanessa Redgrave would be arrested if they entered the country. The most offensive scene, labeled “the rape of Christ,” depicted a mock exorcism involving fully nude nuns masturbating with a large crucifix. The scene was removed prior to the film’s release, but there were plenty of other controversial sequences that led to protest. A very low-quality DVD of the film was released a few years ago with the “rape of Christ” scene put back in. Dogma - I understand how comedy can be seen as offensive, especially in the case of stereotypical caricatures like the one in The Love Guru. But Kevin Smith’s religious satire is so silly and all over the place that I can’t imagine that viewers would take its contents seriously. Yet enough protests required the film to be disowned by Miramax/Disney and then eventually be released (courtesy of Lionsgate) with a disclaimer stating that it is merely “a work of comedic fantasy.” Hail Mary - Jean-Luc Godard’s modern retelling of the Nativity was criticized by none other than Pope John Paul II, himself. He was quoted as saying that it “deeply wounds the religious sentiments of believers.” But even better was the response from another man who took offense to the film and decided to throw a shaving cream pie in Godard’s face at the 1985 Cannes Film Festival. Also this is probably one of the rare circumstances in which the filmmaker is the one trying to prevent Italian distribution and is actually unable to do so. The Last Temptation of Christ - Like Dogma, Martin Scorsese’s film came with a disclaimer that noted it is not based on the gospels and is a work of fiction. But like the case against The Da Vinci Code, the idea or depiction of Jesus and Mary Magdalene getting it on is never forgivable. Life of Brian - I can’t believe that anyone actually took offense to the joke about the three wise men initially approaching the wrong stable, but apparently that was one of the many blasphemous scenes in this Monty Python satire of the life of Jesus. Also: how could anyone be upset about the crucifix scene? Eric Idle’s song is just too catchy to mind its offensiveness. The Message (aka Mohammad, Messenger of God) - Much of the protests against this epic movie, about the founding of Islam, came mostly because of pre-release assumptions. For instance, some groups thought Anthony Quinn was starring as Mohammad (or Muhammad), a problem both because the prophet is not permitted to be represented in human form in any medium and because Quinn is Mexican-American, not Arab (as noted yesterday, all it takes is facial hair to change that). Other preproduction rumors were that Peter O’Toole and Charlton Heston were up for the part of Mohammad. Of course, the prophet is never seen, and Quinn merely portrays his uncle, Hamza. Unfortunate, nobody told certain extremists, even when the film came out, and apparently many cinemas received phone calls with death threats. Also, a tragic hostage situation in Washington D.C. began the day The Message opened, leading to the death of a police officer and the non-fatal shooting of future-mayor Marion Barry. One of the demands of the hostage-takers was for The Message not be released. The Passion of the Christ - A rare modern film about Jesus that didn’t seem to offend any Christians. Actually, of course it offended some groups, but their protests were clearly overshadowed by the protests from Jewish groups, who took offense to the movie’s apparent placing of blame for Jesus’ death on the Jews. Considering Mel Gibson’s later controversy involving his drunken, anti-semitic outbursts, the offense definitely seems to have more merit than initially recognized. Priest - Five years before Miramax/Disney was forced to disown Dogma because of Catholic protestors, the Weinsteins distributed this “blatantly anti-Catholic” film about a homosexual priest. Of course, it was mainly criticized by people who hadn’t seen it, such as New York Cardinal John J. O’Connor, who likened the film to graffiti found on bathroom walls. Rosemary’s Baby - There’s now a whole slew (I guess a whole subgenre) of horror films dealing with the occult, Satanism and the Antichrist, but this was the hit that pretty much started it all. And because of the parallels between Rosemary and the Virgin Mary, it’s possibly the most offensive to Catholics. Even the media used it against its director, Roman Polanski, when his wife, Sharon Tate, was murdered a year after its release; prior to revelation that Tate and the rest were killed by the Manson “family,” reporters speculated that it was the result of the Polanskis’ alleged satanism and some even claimed the tragedy was deserved. September Dawn - Until last year, Jon Voight’ most offensive movie was probably Karate Dog, but in 2007 he starred in this alleged anti-Mormon propaganda (called such before the Church of Latter-Day Saints viewed it, of course), which portrays an historical incident in which a Mormon militia massacred a wagon train of emigrants. The greatest offense is apparently the claim that Mormon leader Brigham Young (played by Terrence Stamp) was directly involved. Another criticism was that Hollywood made the film to somehow affect Mitt Romney’s campaign for President. Submission - Theo van Gogh’s ten-minute film criticizes the treatment of women in Islam and was apparently offensive enough that it led to the filmmaker’s assassination at the hands of a Dutch Muslim ma The Triumph of the Will - While Leni Reifenstahl’s propaganda film is well-regarded and highly respected today by film critics, scholars and historians, many Jewish groups see its celebration as being “morally insensitive.” Viridiana - Luis Bunuel made plenty of movies that mocked the Church, but this 1961 Palme D’or-winner was perhaps the most publicly protested by the Vatican and Spanish dictator Francisco Franco, who had it banned in Spain until after his death. Bunuel’s excellent plea of ignorance: “I didn’t deliberately set out to be blasphemous, but then Pope John XXIII is a better judge of such things than I am.” Originally posted on:SpoutBlog
]]>Thu, 19 Jun 2008 19:00:57 GMTSpoutBlogSpoutBlog on spout.com6/19/2008 3:00:57 PMThis week we have two big-time offenders: Mike Myers’ The Love Guru, which has brought concern from Hindus, because the comedy seems to be making fun of the Hindu religion; and Ron Howard’s Angels & Demons, the “sequel” to The Da Vinci Code, adapted from Dan Brown’s bestseller. Earlier this week, the Vatican banned the latter production from all Catholic churches in Rome. The following statement from Father Marco Fibbi, spokesman for the diocese of Rome, was a favorite quote from the story: “Usually we read the script but in this case it wasn’t necessary. Just the name Dan Brown was enough.” Of course, these days, religious organizations taking offense to a movie seems so commonplace that news like this is hardly even considered bad buzz. Neither The Love Guru nor Angels & Demons will be too aversely affected by the protests or boycotts. Both films will merely be added to the following list of major offenders (in alphabetical order so as not to offend anyone who thinks one is more offensive than another), as almost a genre cataloging than an inventory of condemned. Brokeback Mountain - Because of its promotion of “the homosexual lifestyle,” many right-wing Christian groups protested Ang Lee’s film. Most famously, it was pulled last-minute from a multiplex owned by Mormon businessman and Utah Jazz owner Larry H. Miller, though his motivation was not necessarily claimed to be religion-based. Despite there being hundreds of gay films throughout the years, because of its popularity, this one was the worst offender. The Da Vinci Code - I already mentioned this above and in a recent post on movies that overcame bad buzz, so I’ll make it short: banned, boycotted and protested throughout the world due to its blasphemous (and fictional) allegations that Jesus and Mary Magdalene had a child together. The Devils - Many of the following films were banned in Italy, but with Ken Russell’s blasphemous adaptation of Aldous Huxley’s “The Devils of Loudon,” there was also threat that stars Oliver Reed and Vanessa Redgrave would be arrested if they entered the country. The most offensive scene, labeled “the rape of Christ,” depicted a mock exorcism involving fully nude nuns masturbating with a large crucifix. The scene was removed prior to the film’s release, but there were plenty of other controversial sequences that led to protest. A very low-quality DVD of the film was released a few years ago with the “rape of Christ” scene put back in. Dogma - I understand how comedy can be seen as offensive, especially in the case of stereotypical caricatures like the one in The Love Guru. But Kevin Smith’s religious satire is so silly and all over the place that I can’t imagine that viewers would take its contents seriously. Yet enough protests required the film to be disowned by Miramax/Disney and then eventually be released (courtesy of Lionsgate) with a disclaimer stating that it is merely “a work of comedic fantasy.” Hail Mary - Jean-Luc Godard’s modern retelling of the Nativity was criticized by none other than Pope John Paul II, himself. He was quoted as saying that it “deeply wounds the religious sentiments of believers.” But even better was the response from another man who took offense to the film and decided to throw a shaving cream pie in Godard’s face at the 1985 Cannes Film Festival. Also this is probably one of the rare circumstances in which the filmmaker is the one trying to prevent Italian distribution and is actually unable to do so. The Last Temptation of Christ - Like Dogma, Martin Scorsese’s film came with a disclaimer that noted it is not based on the gospels and is a work of fiction. But like the case against The Da Vinci Code, the idea or depiction of Jesus and Mary Magdalene getting it on is never forgivable. Life of Brian - I can’t believe that anyone actually took offense to the joke about the three wise men initially approaching the wrong stable, but apparently that was one of the many blasphemous scenes in this Monty Python satire of the life of Jesus. Also: how could anyone be upset about the crucifix scene? Eric Idle’s song is just too catchy to mind its offensiveness. The Message (aka Mohammad, Messenger of God) - Much of the protests against this epic movie, about the founding of Islam, came mostly because of pre-release assumptions. For instance, some groups thought Anthony Quinn was starring as Mohammad (or Muhammad), a problem both because the prophet is not permitted to be represented in human form in any medium and because Quinn is Mexican-American, not Arab (as noted yesterday, all it takes is facial hair to change that). Other preproduction rumors were that Peter O’Toole and Charlton Heston were up for the part of Mohammad. Of course, the prophet is never seen, and Quinn merely portrays his uncle, Hamza. Unfortunate, nobody told certain extremists, even when the film came out, and apparently many cinemas received phone calls with death threats. Also, a tragic hostage situation in Washington D.C. began the day The Message opened, leading to the death of a police officer and the non-fatal shooting of future-mayor Marion Barry. One of the demands of the hostage-takers was for The Message not be released. The Passion of the Christ - A rare modern film about Jesus that didn’t seem to offend any Christians. Actually, of course it offended some groups, but their protests were clearly overshadowed by the protests from Jewish groups, who took offense to the movie’s apparent placing of blame for Jesus’ death on the Jews. Considering Mel Gibson’s later controversy involving his drunken, anti-semitic outbursts, the offense definitely seems to have more merit than initially recognized. Priest - Five years before Miramax/Disney was forced to disown Dogma because of Catholic protestors, the Weinsteins distributed this “blatantly anti-Catholic” film about a homosexual priest. Of course, it was mainly criticized by people who hadn’t seen it, such as New York Cardinal John J. O’Connor, who likened the film to graffiti found on bathroom walls. Rosemary’s Baby - There’s now a whole slew (I guess a whole subgenre) of horror films dealing with the occult, Satanism and the Antichrist, but this was the hit that pretty much started it all. And because of the parallels between Rosemary and the Virgin Mary, it’s possibly the most offensive to Catholics. Even the media used it against its director, Roman Polanski, when his wife, Sharon Tate, was murdered a year after its release; prior to revelation that Tate and the rest were killed by the Manson “family,” reporters speculated that it was the result of the Polanskis’ alleged satanism and some even claimed the tragedy was deserved. September Dawn - Until last year, Jon Voight’ most offensive movie was probably Karate Dog, but in 2007 he starred in this alleged anti-Mormon propaganda (called such before the Church of Latter-Day Saints viewed it, of course), which portrays an historical incident in which a Mormon militia massacred a wagon train of emigrants. The greatest offense is apparently the claim that Mormon leader Brigham Young (played by Terrence Stamp) was directly involved. Another criticism was that Hollywood made the film to somehow affect Mitt Romney’s campaign for President. Submission - Theo van Gogh’s ten-minute film criticizes the treatment of women in Islam and was apparently offensive enough that it led to the filmmaker’s assassination at the hands of a Dutch Muslim ma The Triumph of the Will - While Leni Reifenstahl’s propaganda film is well-regarded and highly respected today by film critics, scholars and historians, many Jewish groups see its celebration as being “morally insensitive.” Viridiana - Luis Bunuel made plenty of movies that mocked the Church, but this 1961 Palme D’or-winner was perhaps the most publicly protested by the Vatican and Spanish dictator Francisco Franco, who had it banned in Spain until after his death. Bunuel’s excellent plea of ignorance: “I didn’t deliberately set out to be blasphemous, but then Pope John XXIII is a better judge of such things than I am.” Originally posted on:SpoutBlog http://www.spout.com/blogs/bigjefflebowski/archive/2008/1/24/24322.aspx Post By: BigJeffLebowski
Post To: BigJeffLebowski Blog
Post Date: 1/24/2008 7:05:36 PM
Body: Bold, brutal, blasphemous, and utterly brilliant, Ken Russell's The Devils is easily one of the most unjustly overlooked films of its time, surely due in no small part to its limited availability. Taking place in 1634, the film explores the unconscionable atrocities committed by the Catholic church in the seventeenth century, especially in regard to social and sexual politics.As Urbain Grandier, a French priest whose interpretation of the clergy allows for sexual daliance, Oliver Reed gives one of the most underrated performances of the '70s. He is galvanizing: powerful, charismatic, and sympathetic. Even his questionable actions and beliefs are rendered understandable, if not likable, by his charm and presence in the role. "Saint Paul says that he who marries does a good thing," Grandier is admonished, "but he who remains chaste does something better," to which he simply responds, "Then I am content to do a good thing, and leave the best to those that can face it." Vanessa Redgrave, in one of her earlier performances, is also superb as Sister Jeanne, the head nun whose obsession with Grandier is the impetus for the rampant sexuality that overtakes the convent and, subsequently, the Cardinal's takeover of Loudon. That hers is not the most memorable performance is not a criticism of her, but rather a compliment to the entire cast; rarely has Russell assembled a troupe of actors who get his twisted blend of history, satire, and surrealism as well as he has here.And what a unique blend it is. The film is joyfully anachronistic, with sets admittedly modelled less after Victorian architecture than after Fritz Lang's Metropolis. (And by Derek Jarman, no less.) Russell's pageantry is not of the stuffy variety one usually expects of a period piece; instead, his brilliant screenplay comes to vivid life with the kind of absurd theatricality to which only 1971 could give birth. Everything about the film is bold: its colors, its sets, its costumes, its performances, they all jump off of the screen with a brazen confidence that defies you to turn away, knowing well that you won't, in spite of your outrage at what you're seeing.This is marvelously subversive cinema, a film with ideas and the conviction to deliver them as fearlessly and as confrontationally as possible. The Devils is less cautionary than A Clockwork Orange, less willfully obtuse than The Holy Mountain, and less obstinately grotesque than Salo or the 120 Days of Sodom; yet it stands easily alongside these classics and paints, along with them, a picture of a disquieted generation learned enough to understand its place within a greater context yet determined to fight oppression in all its forms. If ever there was a film absolutely begging to be brought back into the spotlight by the Criterion Collection, The Devils is that film.
]]>Fri, 25 Jan 2008 00:05:36 GMTBigJeffLebowskiBigJeffLebowski Blog1/24/2008 7:05:36 PMBold, brutal, blasphemous, and utterly brilliant, Ken Russell&#39;s The Devils is easily one of the most unjustly overlooked films of its time, surely due in no small part to its limited availability. Taking place in 1634, the film explores the unconscionable atrocities committed by the Catholic church in the seventeenth century, especially in regard to social and sexual politics.As Urbain Grandier, a French priest whose interpretation of the clergy allows for sexual daliance, Oliver Reed gives one of the most underrated performances of the &#39;70s. He is galvanizing: powerful, charismatic, and sympathetic. Even his questionable actions and beliefs are rendered understandable, if not likable, by his charm and presence in the role. &quot;Saint Paul says that he who marries does a good thing,&quot; Grandier is admonished, &quot;but he who remains chaste does something better,&quot; to which he simply responds, &quot;Then I am content to do a good thing, and leave the best to those that can face it.&quot; Vanessa Redgrave, in one of her earlier performances, is also superb as Sister Jeanne, the head nun whose obsession with Grandier is the impetus for the rampant sexuality that overtakes the convent and, subsequently, the Cardinal&#39;s takeover of Loudon. That hers is not the most memorable performance is not a criticism of her, but rather a compliment to the entire cast; rarely has Russell assembled a troupe of actors who get his twisted blend of history, satire, and surrealism as well as he has here.And what a unique blend it is. The film is joyfully anachronistic, with sets admittedly modelled less after Victorian architecture than after Fritz Lang&#39;s Metropolis. (And by Derek Jarman, no less.) Russell&#39;s pageantry is not of the stuffy variety one usually expects of a period piece; instead, his brilliant screenplay comes to vivid life with the kind of absurd theatricality to which only 1971 could give birth. Everything about the film is bold: its colors, its sets, its costumes, its performances, they all jump off of the screen with a brazen confidence that defies you to turn away, knowing well that you won&#39;t, in spite of your outrage at what you&#39;re seeing.This is marvelously subversive cinema, a film with ideas and the conviction to deliver them as fearlessly and as confrontationally as possible. The Devils is less cautionary than A Clockwork Orange, less willfully obtuse than The Holy Mountain, and less obstinately grotesque than Salo or the 120 Days of Sodom; yet it stands easily alongside these classics and paints, along with them, a picture of a disquieted generation learned enough to understand its place within a greater context yet determined to fight oppression in all its forms. If ever there was a film absolutely begging to be brought back into the spotlight by the Criterion Collection, The Devils is that film. http://www.spout.com/members/0/tags/disturbing/MemberTagFilms.aspxdisturbing
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