The Wild Child of Cinema: “The Devils” at 55 and Still Unapologetic

As I sat in the Buñuel cinema on that Thursday night, surrounded by hopefuls who had managed to snag a ticket for Ken Russell’s 1971 masterpiece “The Devils,” I felt a mix of excitement and trepidation. The screening was a rare occurrence – a complete, uncut restoration of the film in 4K – and its presentation by British critic Mark Kermode added an air of authority to the proceedings.

But what struck me most was not the visuals or the ceremony, but the palpable sense of anxiety among the audience members who had struggled to secure tickets. This is a film that has been dogged by censorship throughout its life, and yet it still carries an aura of the forbidden, a sense of danger that is both exhilarating and intimidating.

Unless you’re a die-hard cinephile or have kept on top of its release history, chances are you’ve seen only one of several edited versions of “The Devils” over the years. The infamous “Rape of Christ” sequence has been excised from many prints, as well as Vanessa Redgrave’s memorable masturbation scene.

This screening was different, however. It offered an opportunity for those who had never seen the film before to experience it in all its unadulterated glory – and judging by Kermode’s intro, where he asked if anyone had never seen the film before and a majority of hands went up, it seemed like many people were about to have their minds blown.

One reason “The Devils” has captured the imagination of audiences for so long is its sheer audacity. Russell described it as “my most – indeed my only – political film,” and it’s clear that this work has not aged well with the passing years. Its anti-clericalism and anti-establishment politics may have been shocking in 1971, but they are now more relevant than ever.

The film is also a powerful critique of censorship and the importance of protecting artistic freedom. Russell was a director who pushed boundaries and took risks, and his most famous work remains a testament to his willingness to challenge convention.

In an era where freedom of expression is increasingly under threat, “The Devils” serves as a timely reminder of the dangers of censorship and the need for filmmakers like Ken Russell to continue pushing the envelope. The film’s notorious sequences – the “Rape of Christ,” the boning scene with Grandier’s charred femur – are not gratuitous or exploitative, but rather part of a larger critique that challenges what is acceptable in film.

The screening was just one part of a larger trend at this year’s Cannes Film Festival. A number of bold and uncompromising works have been making waves, from Jane Schoenbrun’s “We’re All Going to the World’s Fair” to Lars von Trier’s “The House That Jack Built.” However, while these films may be bold and uncompromising, they are not necessarily as challenging or subversive as Russell’s masterpiece.

“The Devils” remains a film that can be both shocking and enlightening – a work that will make you laugh, cry, and question everything you thought you knew about art and censorship. As we look to the future of cinema, it’s worth considering the legacy of films like “The Devils.” What impact have they had on our understanding of the medium, and how can they continue to inspire new generations of artists and audiences alike?

In an era where streaming platforms are increasingly shaping the way we consume film, there is a danger that bold and uncompromising works will be lost in the noise. However, “The Devils” remains a testament to the power of cinema to challenge and subvert our expectations.

As I left the Buñuel cinema that night, surrounded by people who had been moved and inspired by what they had seen, I felt a sense of hope – that this film would inspire a new generation of artists and audiences alike to question the status quo and challenge the boundaries of what is possible. The wild child of cinema may have turned 55, but it’s still got plenty of bite – and we can’t wait to see what it does next.