The Devils (1971): Ken Russell's Controversial Classic

Fifty-five years after it scandalized audiences and was pulled from distribution, Ken Russell’s The Devils is finally getting a proper moment in the spotlight. A restored cut of the 1971 picture has been unveiled, offering a first look at the film in a condition that matches its director’s original vision. The announcement arrives as something of a milestone for a movie long trapped in rights limbo and censorship battles.

The film, set in 1634 France, centers on Father Urbain Grandier, a charismatic priest whose growing influence makes him a target. When a sexually obsessed nun, Sister Jeanne des Anges, levels witchcraft accusations against him, the charges are eagerly seized upon by corrupt figures within both the church and the state. What follows is a descent into hysteria, torture, and political maneuvering, all rendered with Russell’s trademark operatic excess.

Starring Oliver Reed as Grandier and Vanessa Redgrave as the tormented Sister Jeanne, The Devils has never been easy to see in its complete form. Warner Bros., the original distributor, has historically kept the film out of circulation, with only heavily edited versions surfacing over the decades. The new restoration, however, appears to address that long-standing gap, giving viewers a chance to experience the work as intended.

The film’s reputation has only grown in the years since its release, buoyed by word-of-mouth among cinephiles and a steady stream of critical reappraisal. Russell, who died in 2011, was known for pushing boundaries, but The Devils stands apart even in his filmography. It is at once a historical drama, a horror story, and a savage indictment of institutional hypocrisy, a combination that proved too volatile for its era.

Part of the challenge in restoring the film lies in its source material. The original negative had been altered for various releases, with some footage lost or damaged. The restoration team has reportedly worked from multiple elements to piece together the most complete version possible. The goal, according to those involved, was to preserve Russell’s stylistic extremes - the sets, the performances, the sheer intensity - without cleaning away the grit that defines the picture.

That intensity is on full display in the newly released stills and footage. Reed’s Grandier is a figure of both pride and compassion, a man whose downfall is orchestrated by those who see him as a threat. Redgrave, meanwhile, delivers one of her most daring performances as the nun whose desires curdle into vengeance. The supporting cast includes Dudley Sutton as the calculating Baron de Laubardemont, Max Adrian as Ibert, Gemma Jones as Madeleine de Brou, Murray Melvin as Father-Canon Jean Mignon, Michael Gothard as Father Pierre Barre, and Georgina Hale as Philippe Trincant.

The film’s runtime, 112 minutes, remains intact in this restoration, and its genre-blending approach - part drama, part history, part horror - still feels audacious, if not more so, in a contemporary context. The TMDb rating of 7.4 out of 10 reflects the enduring appreciation for what Russell accomplished, even among audiences who have only seen inferior cuts.

For years, The Devils was a whispered title among film buffs, a movie you had to describe rather than show. Bootleg copies circulated, often of poor quality, and festival screenings were rare. The restoration changes that calculus, offering a legitimate, high-quality version that can be studied and appreciated on its own terms.

The timing is also notable. In an era where discussions about censorship, artistic freedom, and the responsibilities of archives have become more prominent, the rehabilitation of a film like The Devils feels particularly resonant. It raises questions about what else remains locked away, not because of neglect but because of discomfort.

There is no theatrical release date or streaming platform attached to this first look just yet. The announcement is, for now, a promise. But for those who have waited decades to see Russell’s work without compromise, the wait may finally be over. The restored cut of The Devils is not just a technical achievement; it is a vindication of a filmmaker who refused to soften his vision, no matter the cost.

As more details emerge about distribution and exhibition plans, the conversation is likely to shift from whether the film should be seen to how it will be received by a new generation. Russell’s work has always invited strong reactions, and The Devils remains his most provocative statement. That it can now be seen in full, with the clarity and force he intended, is news worth noting - both for longtime devotees and for those encountering it for the first time.

Source: Variety