Five shipwrecked English teenagers take refuge in an island hotel that is decorated for New Years. The problem is, it's early summer, and soon enough, even the walls themselves are striking out against them...
A lesbian vampire couple waylay and abduct various passers-by, both male and female, to hold them captive at their rural manor in the English countryside in order to kill and feed on them to satisfy their insatiable thirst for blood.
José Ramón Larraz
A young girl is caught up in a devil cult run by her evil uncle and cousin. She can trust no one and even people she thought were dead comes back to haunt her.Written by
For years director Warren has mentioned that a longer foreign version of Satan's Slave exists, which was much more violent than anything shown in the UK version. It appears this Continental version was used for the 1997 UK video re-issue, as there is footage in it never before seen in the UK. There is a totally new murder scene and lots more violence in the Satanic mass scenes. Basically every violent scene has newer alternative more gory takes: Martin Potter's eye gauging is notably much more graphic in the video. Unfortunately whereas the censors passed footage deemed too violent to submit to them in 1976, they cut 1 minute 4 seconds of footage that they were willing to pass for its orginal X rated cinema and video release. These cuts include most of Potter's sexual assault on his first girlfriend, and some whipping and branding in the flashback witchfinder sequence. Ironically the orginal UK cinema version was appearing with these cuts intact on cable TV around the same time as the cut video re-release. See more »
While visiting her uncle's country estate, a young girl (Candace Glendenning) becomes involved with satanists who believe she's the reincarnation of an ancient witch.
A key work from cult director Norman J. Warren (TERROR, INSEMINOID), SATAN'S SLAVE combines gratuitous nudity and horrific violence in a censor-baiting concoction designed to compete with the gore and cynicism of its contemporary American/European counterparts. Tellingly, SATAN'S SLAVE was written by David McGillivray, a film critic-turned-scriptwriter whose collaboration with another Brit maverick (Pete Walker) resulted in some of the most memorable exploitation movies of the 1970's, including HOUSE OF WHIPCORD and FRIGHTMARE (both 1974). McGillivray's scripts were always distinguished by their tongue-in-cheek attitude and gleeful subversion of accepted morés, and SATAN'S SLAVE is no exception. Sadly, despite its lip-smacking excesses, the movie is a disappointment.
In fact, much of the film's problems can be traced directly to McGillivray's screenplay, a skeletal mixture of witchcraft and paranoia, driven by dialogue rather than action, which coasts along on auto-pilot in between bouts of skin and sadism. Cast for her waif-like beauty and startling blue eyes, Glendenning (in what appears to have been her final appearance in a theatrical feature) fits the bill as a stereotypical heroine, but she emerges as little more than a colourless wimp, and her one-note performance is a liability. Second-billed Martin Potter gives an equally lacklustre performance as Glendenning's cousin, a psychopathic brute who subjects a pretty young girl (Gloria Walker) to a terrifying ordeal in the opening sequence (more of which later), before turning up as a resident in the home of Glendenning's enigmatic uncle, played by Michael Gough. SATAN'S SLAVE may not have been Gough's finest hour, but he rises to the occasion with predictable flair, delivering his fruity dialogue with Shakespearean relish and acting everyone else off the screen; his obvious talent and lack of pretension has earned him the devotion of cult movie fans worldwide, and with good reason.
Warren uses the widescreen format to visualise the gulf between the characters, and to exploit the landscape and décor of Gough's isolated residence. In fact, the film's threadbare production values are clearly bolstered by its primary location, a Gothic-style mansion located within the Surrey countryside, filmed in all its autumnal splendour. But the movie's rough-edged beauty is frequently tempered by scenes of horror and brutality, visited mostly on female characters who are often stripped naked before suffering the kind of cruel indignities which characterised exploitation cinema of the period. The downbeat ending is also typical of the era, though die-hard horror fans will guess the outcome long before the on-screen characters.
During post-production, Warren was asked to beef up the sleaze quotient for a number of European and Asian markets, so the director prepared a variant edition at odds with his original vision: The rough foreplay between Potter and Walker in the opening sequence (preceding Walker's murder) was extended by having the killer run a pair of scissors over his victim's naked body (the original version develops in a different way and features alternative dialogue, which means the 'new' material can't simply be edited back into the print), and a brief flashback was added to a later scene, in which Potter is seen stabbing an unidentified woman to death. The BBC dispatched a film crew to cover the production for a documentary entitled "All You Need is Blood: The Making of SATAN'S SLAVE", which they subsequently refused to show, though it has since been issued on video.
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