CRY OF THE BANSHEE 1970
One of the more chilling horror films of the 1970s, as far as my recollection of sitting in the theater and being riveted to the energy and cruelty on screen (much like Michael Reeve’s film starring Price – Witchfinder General 1968), was Gordon Hessler’s Cry of the Banshee (1970), produced by American International Pictures (AIP).
Gordon Hessler, a prolific German-born director, had a diverse filmography beyond his well-known horror works. Some of his other notable films include The Golden Voyage of Sinbad (1974), A fantasy adventure featuring Ray Harryhausen’s stop-motion effects. The Oblong Box (1969) and the convoluted Scream and Scream Again (1970) are both horror films starring Vincent Price. And Murders in the Rue Morgue (1971): An adaptation of Edgar Allan Poe’s story, starring Jason Robards. There were also Pray for Death (1985) and Rage of Honor (1988): Two action films starring martial artist Sho Kosugi. Hessler also directed numerous television movies and episodes for popular series such as Wonder Woman, CHiPs, and Hawaii Five-O. His work spanned various genres, from horror and fantasy to action and thriller,
Cry of the Banshee stars Vincent Price in a commanding performance as Lord Edward Whitman, a cruel and tyrannical nobleman and magistrate in 16th-century Elizabethan England who ruthlessly persecutes for sport, those he suspects of witchcraft to maintain his authority. His character is a sadist who enjoys luxury, debauchery, and the brutal treatment of women and peasants. Whitman unknowingly incurs a terrible curse upon his family.
The film’s atmosphere is heavy with doom and foreboding, blending elements of occult horror with the ancient lore of a shapeshifting beast summoned by a thirst for vengeance. Set against the backdrop of 16th-century superstition and religious fervor, the movie creates a palpable and heightened sense of dread that permeates every scene.
Price’s portrayal of Lord Whitman is particularly unsettling. From the opening moments when he abuses a young woman publically. Price delivers the chilling first line, “H is for Heretic,” before sentencing her to be branded and whipped through the village streets.
After his second wife’s death, Price coldly asks, “How much are we paying the weepers?” followed by, “See that they weep until dawn,” demonstrating his character’s cruelty and lack of empathy.
Without disappointment, Price embodies the “sinister haughtiness” that made him a horror icon, playing the cruel magistrate with chilling conviction. His character’s bloodlust and abuse of power drive the narrative forward, setting in motion a chain of supernatural retribution to settle the legacy of his extreme brutality.
The story follows Whitman as he leads a violent crusade against a coven of witches led by the mysterious Oona (played by Elisabeth Bergner). After slaughtering many of her peaceful followers in the woods, Oona, seeking vengeance, summons a demonic spirit to destroy Whitman’s family. This entity takes possession of Roderick, a loyal servant, transforming him into a beast with an insatiable appetite for violence.
One of the most chilling aspects of the film is the way it builds tension through the gradual reveal of Oona’s banshee. The presence of the beast is often signaled by distant, eerie wailing—a clever nod to the banshee of the title, though the film doesn’t actually feature the Irish mythological figure. The deaths are gruesome and shocking, with family members being picked off one by one and torn to shreds.
The film’s climax is particularly effective, as Whitman believes he has triumphed over the supernatural threat, only to realize in a final, terrifying moment that his nightmare is far from over. This scene where he realizes the curse is not over Price’s anguished scream as he discovers his children dead in the carriage and the beast now in control, is one of the most memorable and chilling in the entire movie.
While Cry of the Banshee may not reach the heights of some of Price’s collaborations with Roger Corman, it stands as a noteworthy entry in the AIP horror catalog. The film’s blend of historical setting, occult themes, and visceral horror creates a unique and unsettling film.
Gordon Hessler’s direction of Cry of the Banshee (1970) was primarily driven by his ongoing collaboration with American International Pictures (AIP) rather than personal inspiration. After the success of his previous films, The Oblong Box (1969) and Scream and Scream Again (1970), AIP assigned Hessler to direct Cry of the Banshee as part of their continued production of horror films starring Vincent Price.
Hessler approached the project with some reservations. He disliked Tim Kelly’s original script and brought in Christopher Wicking to rewrite it. However, AIP became alarmed at how much the script was changing and limited them to altering only 10% of the original. Hessler and Wicking envisioned the film with the style and tone of Jacobean revenge tragedy but felt they couldn’t openly state this to AIP. They both had ambitions to create a more historically accurate and sympathetic portrayal of witches based on research they conducted in Scotland. However, AIP limited their creative freedom, allowing only minor alterations. Despite his initial vision for the film, Hessler later described Cry of the Banshee as the least interesting of his AIP productions, largely due to the studio’s constraints on his creative input.
Hessler also wanted Bernard Herrmann to compose the score, but AIP couldn’t afford him. AIP ultimately rejected Wilfred Josephs’ original score and commissioned Les Baxter instead, which Hessler found inappropriate for the period setting. Also, neither Hessler nor Wicking were happy with the portrayal of witches: Hessler and Wicking wanted to create a more historically accurate and sympathetic portrayal of witches based on research they conducted in Scotland. They aimed to depict both good and bad witches, showing them as followers of an older religion oppressed by Christians. AIP rejected this approach. AIP made several cuts to the film, removing the opening animated credits by Terry Gilliam, altering the music, and cutting scenes with nudity and violence for the US theatrical release.