Little and could easily have been written out of the film. Anna andĭavid Fountain (based on the book's lead characters) get to do very Renege on the deal with Father Michael are never explained, norĪre his wife's links to the Satanic worshippers (again, theseįactors are carefully, and plausibly explained in the book).
Him a day later, or held the ritual in Germany, and avoided all the fuss/risks, we never know.Ĭatherine's father is largely unexplained in the film, his motives to To meet her for the ritual, when he could easily have taken her with So we can then have the typical "girl in peril" story although whyįather Michael would go to the risk of sending her home, then arranging She is sent home for a holiday, presumably Much the staff there are involved we never find out as they mostly disappearįor the rest of the film).
Presumably to ease his writing chores, Peacock turns Catherine (calledĬhristina in the novel) into a nun in a demonic convent (although how Gaping holes and completely lacking in tension or excitement. Predictable, by-the-numbers "horror" full of Of spy thriller and socio-political commentary, theīy John Peacock (later rewritten by Gerald Vaughan-Hughes) is a Story is a gripping and well researched Satantic horror, with elements The opening titles list Dennis Wheatley's book as the source of theįilm, this credit is as much a fantasy as the story. Get hold of Catherine, and they learn of his wicked plot. Soon becomes clear to Verney that he is delving into dangerous watersĪs Father Michael (Christopher Lee) starts to go to extreme lengths to Widmark), that he would keep her safely hidden away for a few days. Before she arrives, her father (DenholmĮlliott) makes a deal with black magic author John Verney (Richard (Nastassja Kinski) is returning to Britain from her German monastery toĬelebrate her birthday. In production in Britian, the German producers Terra-Filmkunst saw aĬhance to make their own production, with the now dormant Hammer Films.įor their source they chose to adapt the novel To the Devil a Daughter from popular horror writer Dennis Wheatley, the rights for which Hammer already owned. Meanwhile, the sucess of The Exorcist (1973) had sparked public interest in devil worship horror films, and with The Omen (1976) (1974) hoping to capitalise on the newly popular martial arts genres,īut neither film performed well.
Mainstream, Hammer even combined forces with the Hong Kong based Shaw Brothers to shoot Legend of the Seven Golden Vampires (1974) and Shatter Lucrative Seven-Arts co-productions in the late 1960s, the budgetsĪvailable were cut in half and their output was split between popular,īut unexciting exploitation films, and their well written, but less 1976 Hammer Films were on their last legs.
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