The Blood on Satan's Claw (Devil's Advocates)

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Consequently, the film’s depiction of witchcraft is also complicated: on the one hand, the film never shies away from depicting the cruel and evil actions carried out by the coven, including the rape and murder of sacrificial victims from outside the community. At the same time, the film avoids presenting the coven as made up entirely of fundamentally evil people and instead offers some implicit explanation for why so many members of the community–particularly young people–find the movement so appealing. The Farmer and the Viper: Ralph and Margaret. What, you thought saving her from a Witch Hunt and giving her a shot at redemption might have inspired a Heel–Face Turn, or perhaps led to a Rescue Romance? The most gratitude he gets is an offer of sex if he agrees to flee to the coven she fully intends to rejoin. Set in the early 18th century, this is a time when the beliefs and customs of folklore and old Paganism still held firm and Christian fears of witchcraft and Satanism were at the height of hysteria, beliefs combining and conflicting, with the English Civil War and England's witch trials still in living memory. Exploring the epidemic qualities of terror and hysteria, which we've witnessed so often throughout history and continue to this day, Wynne-Simmons crafts an atmospheric narrative of compelling and creeping dread. Whilst the atrocity of rape had been featured in films before, such as Ingmar Bergman’s The Virgin Spring (Sweden, 1960) (a film which would influence the 1970’s horror subgenre of rape-revenge movies like The Last House on the Left (US, Wes Craven, 1972) and I Spit on Your Grave (US, Meir Zarchi, 1978)), and was implied in earlier horror films such as Hammer’s The Curse of the Werewolf (UK, Terence Fisher, 1961) and Tigon’s Witchfinder General, The Blood on Satan’s Claw depicted the crime unrelentingly. Also a Tigon film, neither The Blood on Satan’s Claw nor Witchfinder General share the camp gothic or fun entertainment value of Hammer’s output; they are dark, heavy films, and their sexual elements are likewise not the titillating bodice-heaving of Hammer horror. Cathy’s grim fate is watched by leering, aroused kids and also, unsettlingly, a pair of gleeful old folk. We the viewers are made to feel like voyeurs to this cruel event, and it feels disturbing. It is meant to feel disturbing – that is the whole point. Seventeenth-century England, and a plough uncovers a grisly skull in the furrows of a farmer's field. The skull disappears, but its malefic influence begins to work in insidious ways upon the nearby village of Hexbridge. First, the cows stop milking and the fruit turns rotten on the trees. Then, an insolent ungodliness takes hold of the local children, mysterious fur patches appear on limbs and people start disappearing....

The tarnished church is the focal point of the earthy and rural scenery. The adults worry about the dark forces in their town and its effect on their innocent children. Young girls like Margaret are accused of being witches for having sexual cravings, and Blake tempts Reverend Fallowfield with her naked body before accusing him of rape. The patches of furry skin and claws are cut off the victims like puzzle pieces put together to form the image of Satan. The abandoned church is where the teenage victims are tortured, raped, and killed in return for the furry skin. The cult’s actions signify the breakdown of values, and the growing madness in the secluded countryside as a result of the demonic possessions. To me, this recording most resembles a 1970s Hammer horror movie -- the vauge setting, the overblown language, and rather silly plot. However, it worked then -- goodness knows how -- and it works now, with the added bonus of nostalgia.Ignore the Fanservice: Reverend Fallowfield refuses to be tempted by Angel’s nakedness, much to her disappointment. Ralph has a moment like this later on, when a naked woman dances in front of him during the assault on the coven, although he's a little more enticed than the reverend. Please Put Some Clothes On: Reverend Fallowfield, though obviously tempted by the sight of Angel Blake disrobing in front of him, averts his gaze and begs her to cover herself up. She is disinclined to comply. Clarke, Donald (2 November 2010). "Mark Gatiss's History of Horror". The Irish Times . Retrieved 2 November 2010.

The Dragon: Angel Blake to Behemoth. She appears to have one herself in Margaret, who's loyal to her (or at least their cause) beyond all reason, although she's never shown to do much beyond read an invocation from a book. Too bad for her Angel is a very cruel taskmaster.a b c d Simpson, Michael (2003). "Piers Haggard interview". MJSimpson.co.uk. Archived from the original on 2 May 2013. there is a certain infamous scene in the film which is depicted quite differently in the book - violence, and sexual violence particularly is largely implied or depicted as happening off screen)

The discovery of a skull buried in a field begins the horror that befalls the rural community of Chapel Folding.

Mistress Banham’s manor

This adaptation stars Mark Gatiss and Reece Shearsmith, alongside the original film's Angel Blake, Linda Hayden. Gatiss and Shearsmith are both huge fans of the original film, even recording a commentary for the DVD release. Hot for Preacher: Angel Blake bares her naked body to the Reverend Fallowfield. She doesn't take kindly to him turning her down. The Blood on Satan's Claw (Severin Films Exclusive)". Blu-ray.com. Archived from the original on 19 September 2021.

This section does not cite any sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. ( March 2023) ( Learn how and when to remove this template message)The Blood on Satan’s Claw (released originally in the UK under the title of Satan's Skin) is a 1971 English Folk Horror/ Religious Horror movie released by Tigon British Film Productions and directed by Piers Haggard. Related: Harvest Home : The 1973 Pagan Horror Classic that Laid the Groundwork for Stephen King's "Children of the Corn" Set in 17th century England, the 1971 film begins with the discovery of a monstrous skull in the dirt. Actress Linda Hayden plays Angel Blake, who discovers the claw of a creature while she’s playing in the fields with her two classmates. Satan harvests his skin from the teenagers as Blake reigns as the cult leader dressed in white with flower branches crowning her head. Anthony Ainley, who plays a curate who Linda Hayden's character attempted to seduce, once said in an interview, "When it came to doing the nude scene where Angel comes into the rectory at night and disrobes this was done at least three times and Linda was spot on with every take...she was a total professional with a refined sense of the erotic unusual for her age...I believe she was only 17 at the time." [22] Musical score [ edit ] a b c Stafford, Jeff. "Blood on Satan's Claw". Turner Classic Movies. Archived from the original on 10 April 2014.