Curse of the Crimson Altar

This might have been a bit better were it actually to feature more of Messrs Karloff and Lee on the screen, but for the most part is just consists of Mark Eden ("Manning") trying to track down his brother, whom he suspects may have been caught up in some occult goings on at a rural stately home. Certainly, there is plenty of drunken debauchery at the start (where don't they lick the Champagne from?) but once it gets into it's stride it all just follows a well trodden path with virtually nothing of note - certainly not scary, anyway, happening until the fire brigade arrive with lightning speed at the end. Beware the legend of the Black Witch - she might make you watch a sequel!

Tigon’s version of “The Devil Rides Out”

An antique dealer in England (Mark Eden) travels to the village of Greymarshe to find his brother, who mysteriously went missing there. Staying at a historical lodge, he romances the young niece (Virginia Wetherell) of the owner (Christopher Lee) while an aged professor voices dire rumors of a witchy cult that may still be active (Boris Karloff). Barbara Steele is on hand as a green-skinned sorceress from the 1600s.

“Curse of the Crimson Altar” (1968), also known as “The Crimson Cult” or “The Crimson Altar,” is a Tigon production, a minor rival of Hammer, which explains how the movie is similar to "The Devil Rides Out,” aka “The Devil’s Bride,” which debuted earlier the same year. Both flicks feature Christopher Lee in a tale that involves devilish rituals. The difference is that “The Devil Rides Out” takes place in the early 30s whereas this one is set in the swinging 60s. Another difference is that Lee plays the villain here as opposed to the atypical hero in the Hammer film.

“The Devil Rides Out” went on to iconic status whereas this one fell into obscurity and has historically been difficult to find, although that’s less of a problem today with the myriad streaming channels. I like ’em both about equally, but give the edge to “Crimson Altar” for entertainment purposes, plus I didn’t find myself caring about the protagonists in “Devil” as I did in this one.

Although the original score by Peter Knight might strike some as low-rent or dated, it’s different and really distinguishes the film. I appreciate it.

There’s a cartoonish opening cult ritual sequence that I found giggle-inducing, which isn't good when the viewer is supposed to take it as a scary, diabolical ceremony. Scenes like this are challenging to pull off with a straight face, which explains why "Rosemary's Baby" (1968) didn't include overt devil-worship until the climax; and wisely brief at that.

There’s also a wild party sequ...