Set in London and the south of England in 1929, the story finds Nicholas, Duc de Richleau, investigating the strange actions of the son of a friend, Simon Aron, who has a house replete with strange markings and a pentagram. He quickly deduces that Simon is involved with the occult. De Richleau and Rex Van Ryn manage to rescue Simon and another young initiate, Tanith, from a devil-worshipping cult. During the rescue, they disrupt a ceremony on Salisbury Plain, in which the Devil, the "Goat of Mendes" appears. They escape to the home of the Eatons, Marie and Richard, friends of de Richleau and Van Ryn, and are followed by the group's leader, Mocata, who has a psychic connection to the two initiates. After visiting the house while de Richleau is absent to discuss the matter and an unsuccessful attempt to influence the initiates to return, Mocata forces de Richleau and the other occupants to defend themselves through a night of black magic attacks, ending with the conjuring of the Angel of Death. De Richleau repels the angel, but it kills Tanith instead. His attacks defeated, Mocata kidnaps the Eatons' young daughter Peggy. The Duc has Tanith's spirit possess Marie in order to find Mocata, but they only are able to get a single clue, and Rex realizes that the cultists are at a house he visited earlier. Simon tries to rescue Peggy on his own, but he is recaptured by the cult. De Richleau, Richard, and Rex also try to rescue her, but they are defeated by Mocata. Suddenly, a powerful force controls Marie and ends Peggy's trance. She then leads Peggy in the recitation of a spell which visits divine retribution on the cultists and transforms their coven room into a church. When the Duc and his companions awaken, they discover that the spell has reversed time and changed the future in their favour. Simon and Tanith have survived, and Mocata's spell to conjure the Angel of Death has been reflected back on him. Divine judgement ends his life, and he is subject to eternal damnation for his unholy summoning of the Angel of Death. De Richleau comments that it is God to whom they must be thankful.
First proposed in 1963, the film eventually went ahead four years later once censorship worries over Satanism had eased. Production began on 7 August 1967, and the film starred Christopher Lee, Charles Gray, Niké Arrighi and Leon Greene. The screenplay was adapted by Richard Matheson from Wheatley's novel. Christopher Lee had often stated that of all his vast back catalogue of films, this was his favourite and the one he would have liked to have seen remade with modern special effects and with his playing a mature Duke de Richleau. The A-side of British rock band Icarus's debut single "The Devil Rides Out" was inspired by the advance publicity for the film of the same title. Though the song does not appear in the film, the single's release was timed to coincide with the film's premiere and the band was invited to the premiere.
Analysis of themes
Unlike certain other Hammer films, The Devil Rides Out has little sexual or violent content. The film's tone is serious, lacking the intentional camp and tongue-in-cheek style of many other Hammer titles. Paul Leggett, in his study of Terence Fisher's films, describes The Devil Rides Out, despite its occult themes, as a "total conquest of Christianity over the forces of evil". Leggett sees the film's script drawing inspiration from the works of Charles Williams and C.S. Lewis in addition to Wheatley's novel. The film portrays in a serious manner a spiritual reality underlying the physical universe, and the skeptics of the supernatural becoming unwitting allies of evil. Professor Peter Hutchings stated that the film has noticeable paternalistic themes: the struggle between good and evil is set up with the older male "savant" authority figures, while the younger characters are incapable of defending themselves without subjecting to their authorities.
Reception
Reviews of the film have been widely favorable. It currently has a 93% "Fresh" rating on Rotten Tomatoes.
Box Office
According to Fox records the film required $1,150,000 in rentals to break even, but by 11 December 1970 it had only made $575,000, making it a loss to the studio.
