If you truly held a gun to my head and forced me to give you my top ten classic horror films of all time, Curse of the Demon would be on that list!
Directed by Jacques Tourneur, Curse of the Demon (released in the UK as Night of the Demon) is a standout classic British horror film from the 1950s adapted from M.R. James’s short story Casting the Runes is a standout horror film from the 1950s.
This atmospheric and chilling tale of skepticism, supernatural forces, and psychological tension stars Dana Andrews as Dr. John Holden, Peggy Cummins as Joanna Harrington (Professor Harrington’s Daughter), Maurice Denham as Professor Harrington, and Niall MacGinnis as the sinister Dr. Julian Karswell. The cinematography, handled by Edward “Ted” Scaife, beautifully captures the eerie mood of the story, blending suspenseful shadows and light to create a striking visual landscape of dread and paranoia.
The story begins with the mysterious death of Professor Harrington, who had been investigating the enigmatic Julian Karswell (Niall MacGinnis) and his mysterious cult of followers.
The plot follows Dr. Holden (Dana Andrews), a skeptical American psychologist who travels to England to investigate a satanic hellbound cult led by Karswell. After the mysterious death of Professor Harrington—who sought to expose Karswell—Holden becomes entangled in a supernatural curse. Karswell secretly passes Holden a parchment inscribed with runes that mark him for death within three days unless it can be returned to sender! As Holden dismisses the supernatural as superstition, strange and terrifying events begin to shake his skepticism.
The opening scene, in which Professor Harrington is pursued and killed by a towering, smoke-shrouded demon, is a hauntingly atmospheric sequence that sets a chilling tone for the entire film. It begins with Professor Harrington, visibly shaken, rushing home after a desperate plea to Julian Karswell to lift the curse placed upon him. As night falls, Harrington’s car pulls into his driveway, and the quiet English countryside becomes a stage for terror.
The first sign of something unnatural is a strange, high-pitched squeaking sound—an eerie, otherworldly noise that seems to emanate from the trees. Suddenly, a glowing cloud of smoke materializes in the distance. It billows and churns unnaturally, illuminated by an unearthly light, throwing sparks as it moves closer through the woods. The sound grows louder and more chaotic, resembling a cacophony of screeching metal or broken wheels grinding against stone—a dissonant soundtrack to impending doom.
Out of this swirling inferno emerges the demon itself, a towering, grotesque (or not so grotesque if you think like me) figure with smoking limbs and glowing eyes that pierce through the darkness. Its massive claws and jagged features are both monstrous and mesmerizing, a vision of primal terror brought to life. The beast’s movements are slow but deliberate, each step accompanied by earth-shaking thuds that reverberate through the forest, leaving trails of billowy, hellish smoke. Its fiery presence casts flickering shadows across the trees, creating a nightmarish interplay of light and dark.
Harrington’s panic is palpable as he stumbles toward his car in a futile attempt to escape. The demon pursues him relentlessly, its immense size making it seem inescapable. The tension crescendos as Harrington’s car swerves wildly down the road before crashing into power lines. In his final moments, tangled in sparking cables, Harrington looks up to see the demon looming over him. Its immense form fills the frame as it reaches down with terrifying inevitability. Its giant mitts smashed his pathetic frame underneath its massive weight.
Jacques Tourneur’s direction combines foreboding sound design with striking visuals to create an unforgettable introduction to the film’s supernatural odyssey. The demon’s appearance—controversial for its explicitness—remains one of the most iconic moments in horror cinema, vividly capturing the terror of being hunted by an unstoppable force from beyond.
One of the most evocative and exhilarating scenes takes place during the Halloween party. The children’s gala in Curse of the Demon is a masterful blend of unsettling charm and creeping menace. Set at Julian Karswell’s sprawling country estate, the scene initially feels disarmingly cheerful. Karswell, dressed as a clown complete with macabre makeup, performs magic tricks for local children, conjuring puppies and handing out candy. His doting mother makes ice cream, adding to the idyllic atmosphere. Yet, beneath this facade of joviality, there’s an undeniable tension that hints at Karswell’s darker nature.
The party takes a sinister turn when Karswell decides to demonstrate his supernatural powers to the skeptical Dr. Holden. With a smug smile, he summons up a wind demon, a sudden whirlwind—a feat he describes as “a medieval witch’s specialty.” The storm disrupts the festivities, sending chairs flying and children screaming as they scramble for safety indoors. This moment is chilling not only for its display of Karswell’s command over dark forces but also for the casual ease with which he wields them. His glib remark to Holden—“We don’t have cyclones in England”—adds an eerie humor to the scene.
The juxtaposition of Karswell’s clownish appearance and his dangerous abilities creates an unsettling contrast. While he appears genial and harmless on the surface, his cold seriousness emerges in moments like his comment about Snakes and Ladders: “I’m not [a good loser], you know. Not a bit of it.” This subtle menace underscores his true nature—a man who is both playful and terrifyingly ruthless.
Shot in broad daylight, the scene is a testament to Jacques Tourneur’s skill at creating Gothic horror without relying on nighttime settings or shadowy castles. The bright surroundings only heighten the unease, making this sequence one of the film’s most memorable moments. It perfectly encapsulates Karswell’s character: outwardly charming yet deeply threatening, a modern sorcerer playing with forces far beyond his control.
There is also a chilling scene where Dr. John Holden visits Rand Hobart, a man left in a catatonic state after encountering the dark supernatural forces at work. Hobart, played by Brian Wilde, is confined to a mental institution, his mind shattered by fear after being cursed by Julian Karswell. The scene is steeped in tension and dread. Hobart sits motionless, his face pale and his eyes wide with terror, as his face beads up with terror that seeps out of his pores as sweat, as though he is perpetually reliving the horrors he has witnessed.
The room is stark and clinical, but it cannot mask the oppressive atmosphere of fear that surrounds him. Holden, ever the skeptic, approaches Hobart with a mix of curiosity and disbelief, determined to extract some rational explanation for the man’s condition.
When Hobart is placed under hypnosis, the scene takes on an even more unnerving tone. His voice trembles as he begins to recount his experience, describing how he was “chosen” to die after receiving a parchment inscribed with runes—an object identical to the one Holden himself now possesses. Hobart’s fear escalates into hysteria when he sees Holden holding the cursed parchment, believing it is being passed back to him. In a moment of sheer panic, Hobart breaks free and leaps through a window to his death. There’s also a séance where Harrington’s spirit warns Holden with the now-famous line, “It’s in the trees! It’s coming!”
Another standout scene is the climactic train confrontation between Holden and Karswell. Holden cleverly returns to Karswell the cursed parchment, leading to Karswell’s dramatic demise at the hands of the demon he had summoned. The demon rips Karswell to shreds like a rag doll and leaves him in a broken pile on the railroad tracks. The truth is left in the hands of Holden, who comes to terms with the fact that some things are better left unknown.
The film’s production was marked by behind-the-scenes creative disagreements, particularly over whether to show the demon on screen. Tourneur preferred subtle psychological horror, leaving the demon’s existence ambiguous, whether it was real or imagined—something inspired by working with collaborator Val Lewton in the 1940s for RKO. However, producer Hal E. Chester insisted on showing the demon explicitly, which led to tension during the production. The demon appears twice—at the beginning and end—adding a visceral element that polarized critics but ultimately became iconic in horror cinema. I for one, am happy to see the demon realized on screen.
With its unforgettable sense of atmosphere and outstanding performances, particularly by MacGinnis as the diabolical Karsell, Curse of the Demon remains a masterpiece.
#39 down, 111 to go! Your EverLovin’ Joey, formally & affectionately known as MonsterGirl!