THE DEVIL'S HAND
US, 1961, 71 minutes, Black-and-white.
Linda Christian, Robert Alda, Ariadne Welter, Neal Hamilton, Gere Craft, Jeanne Carmen.
Directed by William J.Hole Jr.
A small-budget supporting feature from 1961 which is remembered more favourably than might have been expected. It focuses on a cult in Los Angeles which relies on a stern leader, his declarations about a devil-God, Gamba, commitment by devotees even on pain of death for betrayal, human sacrifice, the use of dolls in a voodoo fashion, and powers to communicate between minds, images materialising in the imaginations of those receiving the messages.
At the centre of the story is a businessman played by Robert Alda, a rather laid-back character even in his crises. He is about to be engaged to Donna, Ariadne Welter, but experiences strange dreams, a mysterious blonde woman dancing, femme fatale, Linda Christian, speaking to him, then discovering a doll in her image in a doll shop – and then an image of Donna.
The difficulty with this kind of scenario, set in the 1960s in Los Angeles, the leader of the cult operating a shop, appearing in a suit, always sombre and in control, seems somewhat anachronistic. Had the scenario been in Britain in the 18th century with Christopher Lee and characters in costume, audiences could accept it as an entertainment. However, here it touches on the ludicrous, especially with the solemn utterances of the leader. Neil Hamilton is the leader, absolutely serious – but best known to television audiences as Commissioner Gordon in the Batman series.
There are seduction and sexual manipulation (suggested rather than manifest on the screen), the victimisation of Donna with a pin through the doll and her hospitalisation, various scenes of ritual in the basement under the shop, a journalist photographing the situation and taking notes, carelessly leaving a note on the floor leading to the leader putting a pin through his doll.
In the final meeting of the group, there is a sudden is dance routine, and a confrontation, fire – and the rescue of Donna. But, before the end comes up, the femme fatale is telling the cinema audience that there may be more!
