The Demon 1979 Review
The Demon 1979
Directed by: Percival Rubens
Starring: Jennifer Holmes, Cameron Mitchell, Zoli Marki
Review by Luisito Joaquín González
I discovered The Demon on big-box VHS when I was about twelve-years-old at a jumble sale in my local village hall. It’s hard to believe that it was one of the first to jump on the Halloween-inspired slasher bandwagon, because nowadays, it barely gets a mention amongst the plethora of peak period entries. That does seem somewhat strange, because it received global distribution and plays closer to John Carpenter’s rule book that many of its contemporaries from back then.
It tells the tale of a mysterious hulking menace that kidnaps a teenager in the opening sequence and then proceeds to slash his way through anyone that he bumps into thereafter. He sets his sights on a teacher and her cousin that share a house in a secluded neighbourhood. Meanwhile, the abducted girl’s father hires a psychic to help find the shadowy madman and the pair set out to track him down…
If ever a movie were to be called a mixed bag, then The Demon would be first in the queue for the moniker. There’s some decent stuff here, but it pops up only on the rarest of occasions and the rest of the runtime is a bit of a puzzle. We begin with the family of the kidnapped child and their desperate efforts to track down the perpetrator. They hire an ESP specialist (delivered hilariously by Cameron Mitchell) to assist and it builds some intriguing momentum. After twenty-minutes or so, we are introduced to two new characters and a separate branch, which dominates the majority of the story from then onward. We cut between the two simultaneous scenarios sporadically, but they lack a connection aside from the antagonist and so the film becomes disjointed and begins to lose it’s way.
Our heroine Mary (Jennifer Holmes) is a school teacher that lives with her cute cousin Jo (Zoli Marki). They are given a lot of time to flex their acting chops, especially Marki, who gets a silly romance sub-plot, which is extremely long winded. Dialogue like, “Drive me to the moon” feels like it’s been lifted from Romeo and Juliet and the fact that wardrobe gave her dresses that look like shower curtains certainly didn’t help. Talking of shower curtains, did I mention that the final girl does indeed sport one in order to cover her dignity after being chased around the house in only her nickers for the climax? Seeing a bra-less heroine battle the killer was a new one on me.
During the bloated mid-section, the psycho pops up a couple of times to prevent us from nodding off. One of these events occurs outside a nightclub called, ‘Boobs Disco’, which sounds like my kind of joint. After boogieing to the pop strains of ‘Funkytown’, a South African lass is stalked and almost raped (?) by The Demon, whose techniques for attracting the opposite sex are those of the Borat variety. She is saved by two passing motorcyclists who receive a vicious right hook for their efforts, which leaves them in heaps upon the concrete. One of them is especially unfortunate because his bike explodes into a ball of flames after lightly bumping into a wall. I’m still scratching my head as to how that was possible. Spontaneous bike combustion perhaps? Well, he is The Demon, I guess…
There’s a great scene shortly after, which shows the maniac preparing for his showdown and it’s intercut with Jo getting ready for her date. Once he arrives on site, the slasher chills are extremely effective and deliver some shades of suspense. We don’t get to learn anything about the maniac’s motive and this adds depth to his aura of menace. The script conveys his anonymity superbly and the actor playing him is probably the best thing about the feature. It’s not an exaggeration to say that he is up there with Jason and Michael in the villain stakes and his hefty frame and creepy white mask combine chillingly.
The only copies available of The Demon are poor in quality and many scenes are dark and unclear. There’s minimal gore due the fact that the nutjob’s method of murder is to put a bag over the head of each victim and asphyxiate them. We can’t escape the scriptwriting shipwreck of the soap opera-esque character development parts, which are snooze-inducing, and they seem to have let Cameron Mitchell loose on the quaaludes before he turned up on set. Does this make The Demon a total waste of space? Well funnily enough, no. We may be somewhere off Halloween with what we have here, but there’s enough in the extremely cute actress, remorseless assailant and idea that a place in the world exists called Boobs Disco to have kept me engaged.
What we need is a proper DVD with a commentary to answer some of the questions that I’ve raised here. Until then, I’m not saying don’t pick up a copy of this, but a few cans of lager will help you to appreciate it
Killer Guise: √√
Final Girl: √√