Tonight's movie was an artistic horror story called "Incubus"(1966), directed by "Outer Limits" creator Leslie Stevens in the style of Ingmar Bergman. It was suggested to me by my brother, via Ono, and though I hadn't heard of it before today, it seems to have a cult following that, after viewing, is well deserved. The story takes place in an indeterminate time, likely before the modern age, and is set in a coastal area that looks like California. Allyson Ames (director Stevens' wife) plays "Kia", a young Succubus who is part of a devil-worshipping sect. Kia is ambitious. Luring wicked men to their deaths is easy for her, as we see at the beginning of the movie. She wants to try something more difficult : to tempt and destroy a Good Man. This, she feels, will earn her greater recognition from Satan, whom she strives to please.
Her Evil Superior, "Amael" (Eloise Hardt), warns her against this. "Kia, you must never lure such a man. A Good Man has power to fight back. He has love in his heart, with which he will resist you".
But Kia is an upstart. She won't listen to her elder's advice. "What is the point of bringing only weaklings to our Dark Lord? They're on their way to Hell without us. We should bring him those who are strong, who resist, who can fight. This makes us stronger, too".
Amael gives up and sends Kia on her way. One day, as she walks through the woods, she spies "Marc" (William Shatner), a soldier who lives with his sister "Arndis" (Ann Atmar). Marc is an exceptionally Good Man, Kia can see this even from a distance. She runs back to tell Amael she has found her prey.
"Oh no, Kia. Not him. He is a man of courage and valor. Why, he once rescued several villagers from a fire with no thought for his own safety. He will strongly resist you. Please do not try". But of course this only increases Kia's desire to corrupt him. She approaches the cabin of Marc and Arndis, presenting herself as a woman who is lost and hungry. Marc and his sister feed Kia, who then drifts off to sleep, in Marc's arms. When she awakens, there is a Solar Eclipe. Kia is frightened (or pretends to be), so Marc comforts her, explaining that it's only the Moon casting a shadow on the Sun. "It will be over in a few minutes", he says. Her fear, which is likely an act, is a device to lure Marc in, to make him feel sympathy for her. It works; soon he is falling in love with her.
During the eclipse, Marc's sister Arndis makes the mistake of looking directly at the Sun. She is temporarily blinded and goes inside to recuperate. Marc tells Kia he must go find a doctor. "You should be on your way, too", he advises her. "But I don't know this forest", she protests. "I will become lost again. Would you lead me through it? Accompany me back home? I will lay down with you if you do".
This is a trap, the same one Kia uses on all her victims. But Marc won't be so easily had. "Kia, I believe I'm in love with you, but love is more than just two people laying down together". He explains that true love involves the bonding of souls. "I don't have a soul", says Kia.
Marc relents and offers to lead Kia to the river, which she can follow the rest of the way on her own. But by the time they get there, Kia's seductive charm has caused Marc, normally the most noble of men, to forget all about his sister. Marc wants Kia and tells her so, but still - it has to be in the right way. They must be married first. Marc carries Kia to a church. She has nodded off by the time they arrive and doesn't notice her surroundings until it's too late. She awakens to see the crucifix, the figures of the Lord and Virgin Mary. These have the effect on her that they would on any minion of the Devil. Kia screams. She is being destroyed by the Power of God. Marc picks her up and rushes out of the chapel, but the damage is done. He now knows who Kia really is. But has he known it all along? Later he will tell his sister, "I've loved her for a thousand years".
Kia runs back into the woods, to the camp she shares with her fellow Succubi. There, she tells Amael what has happened. The Elder is furious. Taking Kia into a church is akin to raping her. Marc shall pay dearly for his transgression - the same will be inflicted on his sister! Amael recites an incantation to summon the Incubus, who rises out of his grave in a very spooky set piece, strewn with fog and dark shadows. He is not a Monster (or doesn't resemble one), but a handsome young man whose eyes are as dead as his soul. Amael commands him to visit upon Arndis the same torment that was done to Kia, only this time the rape is to be literal. "She is alone in her house. Go there now and show her no mercy"! The Incubus does as he is ordered, and it's brutal. Fortunately, the scene is very brief, less than 20 seconds. Still, be forewarned.
Marc will catch the Incubus and dispose of him, but his demise is only temporary. Amael is so enraged that she brings him back to life. A final confrontation will take place inside a burning building that will bring to mind Amael's description of Marc : "He rescued others with no thought for himself". This time, however, it is Kia who will try to enter the building. I can't reveal any more without giving the ending away, but it's quite a powerful conclusion to this tale of Good vs. Evil.
More than anything, "Incubus" is Leslie Stevens' attempt to make a Bergman movie. In Allyson Ames, he's even got a lead actress who could be a double for Ingrid Thulin, the star of many of the Swedish master's films. Everything about "Incubus" is an emulation - I think, anyway - right down to the camera angles, the wide-eyed close-ups, the slow but steady pacing and the medieval religious themes, which reminded me of "The Seventh Seal". Even the use of Esperanto (an invented language spoken by all the actors) sounded appropriately obscure. Homage though it may (or may not) be, I thought "Incubus" was quite good. In glancing at some of the gossip surrounding the movie, prior to watching it, I was braced for a trashy, late 60s Satanfest, the kind of horror film that was popular during the Manson era, when religious conventions were proudly and openly flouted. Devil Worshiping, if not out in the open, was hip with the "in-crowd" back in those days, and some really gawdawful films resulted, among other things. I generally don't go for late 60s counterculture movies in any event, but to my surprise, "Incubus" was definitely not one of those, where beautiful vampires engage in bloodthirsty orgies or some other claptrap. Instead, it was a quiet movie with good old fashioned values. We've had a few "quiet" horror movies lately. In "Incubus" even William Shatner tones it down. Imagine how hard it is to get him to do that! But it's that kind of script, one that presents it's morality tale in a thoughtful way. Like Bergman, it's never heavy handed. There is horror, though, so you'll get your money's worth on that score, and as noted, the photography is excellent throughout, as is the music by Stevens' long time collaborator Dominic Frontiere. I'm gonna give "Incubus" Two Big Thumbs Up. Recommended for fans of European art movies, and horror in general. /////
That's all for the moment. I'm gonna do some laundry, then head out for a hike. I'll see you later tonight at the Usual Time.
Tons of love! xoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxo :):)
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