From the movie industry's beginnings and up through 1977, it was okay--even SOP--to make and watch "little movies." Occasionally a big budget, all-star affair would be produced, such as the biblical spectacles of the '50s or disaster films of the '70s, but "little movies" were the norm.
Then "Star Wars" came along. Overnight, it wasn't okay for a picture to be anything less than a 50-million dollar, effects-filled extravaganza. I was in high school at the time and remember this phenomenon well. The mega-blockbuster-only culture in film making persists to the present day.
For audiences too young to remember the pre-1977 world, movies like "The Devil's Hand" are little more than a source of ridicule. No laser blasts? No propane explosions? No skyscrapers with thousands of windows blowing out simultaneously? Well, then it's garbage.
Happily, I do recall the pre-1977 film world and loved the intimacy and offbeat nature of its modest movies. "The Devil's Hand" is one of them.
The story is set among a modern-day, urban cult of devil worshipers and their interesting powers (making quick money, obtaining the lover of their choice, etc.). Unwitting Rick (Robert Alda) is drawn into their shady circle by an elite member of the cult (Linda Christian). Although his life with them becomes supremely comfortable, their merciless practices and lethal vindictiveness makes him realize no one in their realm is safe.
The film's strength is in its late-night atmosphere. It was produced in 1961, an attractive moment in US history. Everything looks great: the characters, their apartments, their cars and even the ceremonial back room. The music is befittingly mysterious and dreamy with the notable exception of the wonderful main-title theme by Baker Knight and the Knightmares. This rock 'n' roll number was recorded specifically for the film at the dawn of the twist craze and it charted at #37 on San Fransisco's hot 100 in August of 1961.
I remember how "The Devil's Hand" turned up regularly on Detroit's "Scream Theater" Friday nights at 11:30pm during the late '70s and early '80s. I loved it then and I love it now--it's a gem.
Then "Star Wars" came along. Overnight, it wasn't okay for a picture to be anything less than a 50-million dollar, effects-filled extravaganza. I was in high school at the time and remember this phenomenon well. The mega-blockbuster-only culture in film making persists to the present day.
For audiences too young to remember the pre-1977 world, movies like "The Devil's Hand" are little more than a source of ridicule. No laser blasts? No propane explosions? No skyscrapers with thousands of windows blowing out simultaneously? Well, then it's garbage.
Happily, I do recall the pre-1977 film world and loved the intimacy and offbeat nature of its modest movies. "The Devil's Hand" is one of them.
The story is set among a modern-day, urban cult of devil worshipers and their interesting powers (making quick money, obtaining the lover of their choice, etc.). Unwitting Rick (Robert Alda) is drawn into their shady circle by an elite member of the cult (Linda Christian). Although his life with them becomes supremely comfortable, their merciless practices and lethal vindictiveness makes him realize no one in their realm is safe.
The film's strength is in its late-night atmosphere. It was produced in 1961, an attractive moment in US history. Everything looks great: the characters, their apartments, their cars and even the ceremonial back room. The music is befittingly mysterious and dreamy with the notable exception of the wonderful main-title theme by Baker Knight and the Knightmares. This rock 'n' roll number was recorded specifically for the film at the dawn of the twist craze and it charted at #37 on San Fransisco's hot 100 in August of 1961.
I remember how "The Devil's Hand" turned up regularly on Detroit's "Scream Theater" Friday nights at 11:30pm during the late '70s and early '80s. I loved it then and I love it now--it's a gem.