Directed by Jess Franco. Cast: Christopher Lee (Lord George Jeffreys), Leo Genn (Earl of Wessex), Maria Schell, Maria Rohm, Margaret Lee, Howard Vernon, Milo Quesada, Hans Hass Jr, Peter Martell, Vincente Roca. Alternate titles: NIGHT OF THE BLOOD MONSTER, IL TRONO DI FUOCO, DER HEXENTOTER VON BLACKMOOR, EL PROCESO DE LAS BRUJAS.
This luridly titled Spanish/West
German/Italian co-production is one of the more fascinating, if less
personal, of the films Franco helmed for the notorious writer-producer
Harry Alan Towers. This review is based on the Dutch video, one of many
variants which are available on VHS. It is important to note that it is
now available on DVD in its proper 2.35:1 format (in PAL) from England's
Salvation company. The Dutch version runs slightly shorter than the
reported 89m of Salvation's DVD, but the crucial difference is the
aspect ratio. The Dutch print is letterboxed at what looks like 1.85:1,
but a lot is cropped offscreen. For instance, when Judge Jeffreys
propositions the character played by Maria Rohm, only about half of her
figure can be seen, the rest, including her crucial reactions to the
sexual blackmail, is beyond the edge of the frame. This is one of the
Franco's most carefully composed films and really needs to be seen in
its correct format. Note: I actually saw this film on the big screen at a drive-in circa 1972 on a double bill with BLOOD FROM THE MUMMY'S TOMB. At that time I was not a Jess Franco enthusiast and drove out before the end, finding the film ponderous and talky, especially since it had been luridly retitled NIGHT OF THE BLOOD MONSTER.
A relatively lavish production (by Franco standards), the art direction (by none other than SUCCUBUS' Jack Taylor-as George O. Brown) and cinematography maximize what were probably limited resources, while looking fairly lavish for a Harry Alan Towers production. Just a few paintings hanging and the right camera angles give Judge Jeffrey's chambers the appearance of a sumptuous set. The exteriors, taken in Portugal, are convincingly "English" and, overall, we are able to suspend disbelief that this is England in 1685. This is a rather big deal in a Franco film, especially a period piece. Just consider how Towers and Franco totally bumbled some of the period atmosphere of the infamous EL CONDE DRACULA (also made 1969, a few months after what would become generally known as THE BLOODY JUDGE).
This is usually reviewed as an inferior copy of Michael Reeves THE CONQUEROR WORM/WITCHFINDER GENERAL (1968), probably because both were released by AIP (in retitled, altered versions) in the U.S.. Despite the historical setting and the consideration of the motives of the sexually obsessed Witch-finder, Franco's version takes a little more care with historical accuracy and tries (at the very end) to give the devil his due. Matthew Hopkins dies in the midst of yet another atrocity in the Reeves film, whereas Jeffreys collapses in his cell after being arrested and witnessing a brutal hanging/beheading. The implication being that he has suddenly come to an understanding of the human misery resulting from his mad campaigns. His tortured visage and haunted eyes are a lifetime away from the early scenes where he is seen in his crimson robes and white wig delivering "witches" and "traitors" to death sentences in his kangaroo court.
Jeffreys did indeed die in prison, but it is unknown if he ever repented. Lee is excellent in this role, considering that it could have easily lapsed into a one dimensional cliche. His arrogant demeanor and menacing movements are often undercut by his furtive glances at the bosoms of the women he condemns to be burned alive. As with the best actors, Lee is able to combine body language with voice to indicate a conflicted character, and it is a considerable accomplishment that he is able to make us feel a sense of pity for this monster. Leo Genn is also fine as the crafty Earl of Wessex. Some of the high points of the film occur during the subtle back and forth between Wessex and Jeffreys, where both of these veteran performers cleverly employ almost imperceptible inflections to get a point across:
JEFFREYS: "We do our best..."
WESSEX: "Then, may God save us from your worst."
The film really soars during these interludes. Less successful are the frankly sexploitative torture scenes (the reason for the film), reduced in this version to tableau style depictions of stretching and flayings of scantily clad, blood stained women. Franco icon Howard Vernon is not really onscreen long enough in some versions to make an impression as the black hooded executioner. Milo Quesada's weasel (who ends up getting chewed to death by freed inmates) is a hateful villain, while Margaret Lee is pretty much wasted in the role of the doomed Alicia. The battle scenes are well mounted but either cut short or minimized by being placed under the opening credits, for example. According to OBSESSION:THE FILMS OF JESS FRANCO, the longest version of this title is the Italian (at 98m), but Franco has claimed in interviews that his original cut ran nearly two hours!
That version can be accessed online, surprisingly enough on Amazon Prime, under the title WITCH KILLER OF BLACKMOOR, where it can be streamed for 1.99. This is the closest I've seen to the nearly 2hour director's cut which Franco intended and includes the rescue of Maria Rohm's character from a river which is not included in the 2003 Blu-Underground extended release.
(C) Robert Monell 2022.