Ken Russell’s ‘The Devils’ Review – As Relevant As It Is Daring And Provocative

Synopsis

In 17th-century France, Father Urbain Grandier’s protection of the city of Loudun from the corrupt Cardinal Richelieu is undermined by a sexually repressed nun’s accusation of witchcraft

I know it’s overwhelming, but whether you want to participate in politics or not, it’s guaranteed to affect your life. While the outcomes can feel out of your hands, like anything else, if you fail to do anything, your life could be on the line. We must pay attention, stay informed, and remain aware of the lies and deception that surround us all. If it was evident before, let this film be a reminder: when divided, we really do fall.

“Confess you are the Devil’s servant! Renounce your master!”

While some things are banned for being mentally or physically detrimental to the masses, others are banned for speaking truth to power, illuminating, and enlightening them. Written, directed, and produced by Ken Russell, The Devils is an intense, staggering, revelatory critique of power that resonates in any era. The controversial work of art is as relevant as it is daring and provocative. It moves fast, talks fast, dilates the pupils, and ignites your limbic system. Based on real 17th-century historical events, some will find the film deeply offensive; many will find it innovative and radical, but all will consider it unforgettable. Vehemently opposing the union of church and state, corruption, and public manipulation, what felt shocking and blasphemous in 1971 is now necessary in 2026. Don’t let outrage, astonishment, or the baring of flesh distract from the truths being shown.

Set in France in 1634, following conflicts between Protestants and Catholics, a Cardinal named Richelieu (Christopher Logue) seeks to expand his authority throughout the country by influencing the flamboyant King Louis XIII. Richelieu is adamant that the demolition of fortified cities is necessary to prevent the rise of more Protestants. Despite his holy title, he’s willing to lie, deceive, exploit, and kill to see his vision come to fruition. However, there’s one thing he wasn’t counting on: a fearless priest named Urbain Grandier (Oliver Reed) and a promise made to the city of Loudun.

Once we meet our protagonist, Father Grandier, it’s immediately apparent that his name holds weight. He garners respect from those around him, reveres God above all else, but also has a lustful affinity for women, and they fawn for his attention. Despite his unusual behavior and excuses made for his actions, he is dauntless in his convictions and noble in his causes. Especially knowing that he yearns to earn his place beside God. Unfortunately, his desire for flesh, given his station, plays into the hands of those who wish to see the walls of his city crumble. At the heart of the impending chaos, dishonor, and depravity is Sister Jeanne (Vanessa Redgrave), a hunchbacked nun whose obsession and jealousy are weaponized and sexually exploited. Her urges affect not only her, but the entirety of her convent. This leads to some of the darker and more indelible explicit scenes in this historical horror-drama. Even if I spoiled what happens, you could never fully fathom how wild it is to experience. Claiming witchcraft and possession, the fraudulent search for the truth is a violent one.

“Every time there is a so-called nationalist revival, it means one thing. Somebody is trying to seize control of the entire country.”

The audacious absurdity and unflinching carnal nature are not only there for shock value, but are intrinsically an attention-commanding artistic statement that lays its message out raw. It’s also mirroring the brazen and repugnant environment being cultivated in the name of power, influence, and dominion. If those with influence and control can bastardize and prey on the very essence of faith and sanctity of the political system, then in return you get a film that is seething with indignation, fueled by courage, and driven by a rebellious spirit that dares to push boundaries. It does so not merely to provoke, but to warn—and ultimately, to protect. It’s extremity with a righteous purpose: provocation as a form of resistance.

By masterfully controlling every moving piece of the narrative, Ken Russell crafted an extravagant, gripping piece of art. From the wardrobe and set design to cinematography and performances, this 4K restoration would’ve lit itself on fire to be seen as it should be, uncensored and uncut. It may not be a masterpiece, but it damn sure is close. See it, discuss it, and tell others. Its rewatchability is high.

Pace & Pop

From the moment the film begins, it sets out to stimulate the mind, and with that comes an exciting yet breakneck pace. There lies the film’s only issue. Between remembering the quick succession of names and keeping up with the fluid dialogue, it takes a few beats to get a handle on what’s unfolding. And what really pops are the big swings the film takes and its unapologetic demeanor. You are never going to forget The Devils.

Characters & Chemistry

Starring: Vanessa Redgrave, Oliver Reed, Dudley Sutton

Outside of its shocking scenes, the phenomenal performances shine brightly, especially in the darkest moments. Oliver Reed brings smoldering charm and potent resistance to Father Urbain Granier. Whether he’s fending off corruption or fighting temptations, he commands the screen with authoritative fire and profound confidence. Vanessa Redgrave fully descends into the sexually repressed and vindictive mind of Sister Jeanne. Her jealousy and desire explode from her eyes and affect everything she touches. And Dudley Sutton goes full villain as the corrupt Baron de Laubardemont. He’s the worst kind of evil that leads with faith while twisting and manipulating the gospel to further a deadly agenda. The rest of the performances are impactful and more than a little wild.

The Devils ignites theaters on October 16, 2026, and will play for one week. Stay safe and stay woke.

Rated: NC-17

Runtime: 1h 56m

Director: Ken Russell

Screenplay: Ken Russell

Producers: Robert H. Solo and Ken Russell

Based on the Play The Devils by: John Whiting

Based on the Book The Devils of Loudun by: Aldous Huxley

Music Composed and Conducted: Peter Maxwell Davies

Performed by: “The Fires of London”

Period Music Arranged and Directed by: David Munrow

Performed by: The Early Music Consort of London

Set Design: Derek Jarman

Costume Design: Shirley Russell

Art Director: Robert Cartwright

Editor: Michael Bradsell

Choreographer: Terry Gilbert

Director of Photography: David Watkin

Camera Operator: Ronnie Taylor