Devil's Rain (1975) - dir. Robert Fuest
consultant & actor, Anton LaVey graces the film with his presence
& arcane knowledge of the occult, & the visage of his
wife Diane at the time dwells herein also. John Travolta, Eddie
Albert, & Tom Skerritt also star in this Satanic thriller
about a cult of devil-worshippers haunting a ghost town.
Since the Dr. is the technical consultant, all magical text herein
is from THE SATANIC BIBLE. Ernest Borgnine plays a most convincing
Satan, with LaVey as, most appropriately, the High Priest.
William Shatner (yes, Capt. Kirk himself!) went where no man had
gone before, playing the protagonist Mark Preston, whose bloodline
is under the curse of Corbis (Ernest Borgnine), because of his
ancestors' betrayal of the group centuries before, & the subsequent
loss of the Book of Souls, chronicling those who have sold their
souls to Satan, which Corbis had been obsessively searching for
ever since. The group was murdered by the pyre, much like the
Knights Templar, but Corbis swore to rise again, his "shadow
covering the land again & again..."
Until the book is recovered, Corbis cannot manipulate & control
the souls, or free them to do his bidding, as they remain imprisoned
in a beautifully ornate container bearing the form of the Baphomet
Then, Mark Preston's brother (Skerritt) teams up with a Parapsychologist
(Eddie Albert) to retrieve his brother & mother from the clutches
of the "evil" Corbis ("...Evil? There is no evil
here. Only purity...")
One of the more typically moronic actions done by the normals
was when Preston was talking with Corbis in one of the scenes
& reveals his insecurity & false heroism, as he proclaims
that he'll "face whatever lies behind those doors" of
that old church (wait until you see that altar!), while parting
open his jacket & displaying a gun. Where's the "faith"?
Well, that made no difference, as you will see -- neither did
his pathetic, snivling prayers, or his god of weakness.
The Devil's Rain has quite a line-up, & quite
a plot. It is thoroughly entertaining & many of the effects,
make-up, & prosthetics were advanced for that time, &
continue to be fascinating today. Notice the undertone of black
noise in some of the scenes.
This rare film remains one of the more Satanically-inspirational
& influencial pieces of underground art. It has been featured
a few times on Elvira's "Movie Macabre" show, but she
unfortunately lacked perception on this one.
It IS so unique, because it features actual Satanic rituals &
ceremonies that have been unearthed by Dr. LaVey. Every Satanist
worth their sulphur will want to have this in their collection.
[- Draconis Blackthorne]
King: Only In America (1997) - dir. John Herzfeld
Throughout Don King: Only in America, Don King
is portrayed as a true Satanic warrior: someone who believes in
nothing but his own abilities. King’s special ability is
exploiting others' abilities; he helps others to the extent that
their success is beneficial to him. Despite all his “immoral”
or “unethical” deeds, King always survives with his
financial assets and his wits intact, reminiscent of Walter Huston’s
character in The Treasure of the Sierra Madre.
The film follows his life from age 23 to 67, from the time of
his first murder to the time the film was made. In between we
see the strength of his will propel him in status from a street
hustler to America’s top boxing promoter. On the journey
he negotiates with boxers, Muslims, Mafiosi and an African dictator.
The dominant motive behind all of King’s actions is his
need for respect. He doesn’t need people to like him, or
accept him, but he does need people to recognize his extraordinary
talent as a promoter.
Wanting to save space, I’ll refrain from expounding on the
amazing acting and direction of the film, and focus on the Satanically
significant points of the story.
Just as the Satanist discards all other collective identities
in favor of the only truly accurate one -- Satanist, so does King
separate himself from all groups, preferring to be recognized
for his individual accomplishments. King never believes in brotherhood,
but he knows how to appeal to others’ sense of brotherhood
to gain their trust (which he then exploits to its fullest). When
he needs something from a Jew, he’ll emphasize the similarities
between blacks and Jews. When he wants to convince Muhammad Ali
to fire his Jewish promoter of good standing, he evokes Ali’s
sense of “racial loyalty.” When he wants a white heavyweight
boxer to fight Ali, he promotes the man as a working-class hero
who is given the chance to take on the champ. Collective identities
are very meaningful to the masses, and can be utilized by the
Satanist for personal gain.
Throughout the film, King senses what others want to hear and
then gives it to them. To return to Walter Huston in The Treasure
of the Sierra Madre: “People pay a lot of money for you
to tell them what they want to hear.” King is portrayed
as a master manipulator, who exploits all that is sacred.
Just as Sir Basil Zaharoff was a peddler of death, who profited
from man’s inhumanity to man, King is a peddler of desperate
hope. This is also very similar to Stanton Carlisle in the quintessentially
Satanic novel, Nightmare Alley. He has no scruples against taking
bets from working-class people, people who are supposedly “his
people.” He calls it the “Hope business.” He
raises people’s hopes, then convinces them to take financial
risks. Whether it is as a numbers runner in Cleveland in the nineteen
fifties or as a heavyweight boxing promoter forty years later,
King always profited from others’ hope. He followed W.C.
Fields’ maxim, “Never give a sucker an even break.”
Also like Zaharoff, King uses the “system” that plays
both sides against the middle.
The film does an extraordinary job of seducing the viewer into
liking this man without whitewashing his crimes. In light of just
how much of a criminal Don King is, this accomplishment of the
film is itself a remarkable crime. It is a thought crime. The
perceptive viewer will quickly discern that King is not the most
reliable narrator; no matter. This merely makes the film all the
more intriguing. Similar to Death Wish, this film allows the protagonist
to create his own justification for his criminal activities. And
the viewer is seduced into agreeing with him out of respect for
his continuously victorious will. Victory is, after all, the basis
From the beginning to the last scene, King openly confronts the
audience, speaking directly to the camera. The film becomes darker
and King more devilish in the second half of the film. He points
out the hypocrisy of a people who use one hand to wave the finger
at him, and use the other hand to pay money for his boxing fights.
Feebly the public plays the Devil’s game, and hypocritically
they condemn the man who promotes and sells the game. King is
portrayed as a Devil who knows what evil lurks in the hearts of
men. Regardless of whether the real Don King is a de facto Satanist,
in Don King: Only in America, he IS the accuser.
[- Miles Jacobsen]