The skull of the Marquis De Sade, imbued with demonic powers, is removed from his grave by a phrenologist with an obsessive curiosity regarding the notorious writer's sanity. This skull has the ability to mind control individuals, often resulting in death to others. The film introduces us to researcher and artifact collector Dr. Christopher Maitland(Peter Cushing)who often writes about(..and has a distinct fascination with)the occult, as his interests lie in studying his collection, a vast cornucopia of objects, antiques & books, hoping to unlock the secrets of the unknown. When a fellow colleague, whose sole interests in the occult are to make a hefty sum from collectors such as Maitland, offers him a chance to retrieve the possession of the Marquis De Sade's skull, it's hard to refuse. Maitland later discovers that his fellow occult collector, Sir Matthew Phillips(Christopher Lee, billed here as a guest star, when in fact he has one of the strongest, albeit despite a small amount of time on screen, roles in the film)once had the skull, but it was stolen by Anthony Marco(Patrick Wymark)the very one who wishes to sell it to him. But, Phillips informs Maitland that he's glad the skull was stolen, telling him of nightmares and the evil control it has over the owner, warning him to stay away from it. But, Maitland shrugs off Phillips's warnings of the skull's danger as superstitious mumbo jumbo, and discovers for himself how all too real this evil truly is.
Well, I'll say this, Peter Cushing and director Freddie Francis give it everything they have despite a rather hokey premise of a skull having supernatural powers. Cushing displays how his character is unable to resist the powers of the skull's control, with horror and confusion taking over. We see a battle of wills with Cushing's researcher losing almost every time, simply too weak to overcome the evil which slowly takes over his mind. We see how the skull, since the one who once had it was such a sadistic and cruel sort who enjoyed pleasure through pain(..claimed in this film as possibly practicing sorcery, an apprentice for Lucifer)commands those whose minds it takes hold over to kill others nearby. In Maitland's case his wife, with the only thing saving her being a crucifix she wore as a necklace. The Christian iconography is heavily used to establish the oft-used theme of "good vs. evil" against the skull and it's demonic grasp of Maitland. We also see how, if you do not obey what it wishes, the result is grim, as the ending so well tells us. Francis, with the flimsy material that probably wouldn't hold under close scrutiny(..if the skull was so powerful how come it never exited the grave? If De Sade in life was such a sorcerer, how come he died the way he did in a prison? And, where does the power of the skull derive from when all that is left of the one who practiced sorcery is dead?), does what he can through tricks and style. The De Sade book, with binding made of human skin, sold to Maitland by Marco, removes itself from a shelf floating to the table where the skull lies within the "devil's star". The camera P-O-V peering at Maitland through the following eyes of the skull. A key turning on it's own releasing the skull from it's "glass cage". Windows opening on their own with the wind blowing the curtains. A mirror breaking as Maitland walks past. And, Francis sure opens the film with a visual aplomb..a distorted graveyard with a creaky gate as the phrenologist enters the dug grave of De Sade relishing the moment. And, any film which has a bidding war over Satanic artifacts between Cushing and Lee, and the two icons playing pool, works for me! Some great names in the cast have smallish roles such as Nigel Green as an inspector with Patrick Magee as his partner, investigating the violent aftermath of what the skull leaves behind. Michael Gough as an auctioneer. Jill Bennett as Maitland's wife Jane whose life is in danger while she sleeps as her husband grapples with plunging a dagger into her. This is definitely Cushing's film. He has many scenes where it's just his character alone with the skull, attempting unsuccessfully to fight the evil desiring to overtake him. Peter Woodthorpe has a memorable role as the nosy landlord of Marco's, whose poking nose sends him to an early grave.
Probably the film's most bizarre, baffling set-piece is a nightmare where Maitland is forced by cops into a car, led to a strange building with a judge forcing him into putting a gun to his head, before carting him off to a room as a colorful poisonous gas enters through vents.
Well, I'll say this, Peter Cushing and director Freddie Francis give it everything they have despite a rather hokey premise of a skull having supernatural powers. Cushing displays how his character is unable to resist the powers of the skull's control, with horror and confusion taking over. We see a battle of wills with Cushing's researcher losing almost every time, simply too weak to overcome the evil which slowly takes over his mind. We see how the skull, since the one who once had it was such a sadistic and cruel sort who enjoyed pleasure through pain(..claimed in this film as possibly practicing sorcery, an apprentice for Lucifer)commands those whose minds it takes hold over to kill others nearby. In Maitland's case his wife, with the only thing saving her being a crucifix she wore as a necklace. The Christian iconography is heavily used to establish the oft-used theme of "good vs. evil" against the skull and it's demonic grasp of Maitland. We also see how, if you do not obey what it wishes, the result is grim, as the ending so well tells us. Francis, with the flimsy material that probably wouldn't hold under close scrutiny(..if the skull was so powerful how come it never exited the grave? If De Sade in life was such a sorcerer, how come he died the way he did in a prison? And, where does the power of the skull derive from when all that is left of the one who practiced sorcery is dead?), does what he can through tricks and style. The De Sade book, with binding made of human skin, sold to Maitland by Marco, removes itself from a shelf floating to the table where the skull lies within the "devil's star". The camera P-O-V peering at Maitland through the following eyes of the skull. A key turning on it's own releasing the skull from it's "glass cage". Windows opening on their own with the wind blowing the curtains. A mirror breaking as Maitland walks past. And, Francis sure opens the film with a visual aplomb..a distorted graveyard with a creaky gate as the phrenologist enters the dug grave of De Sade relishing the moment. And, any film which has a bidding war over Satanic artifacts between Cushing and Lee, and the two icons playing pool, works for me! Some great names in the cast have smallish roles such as Nigel Green as an inspector with Patrick Magee as his partner, investigating the violent aftermath of what the skull leaves behind. Michael Gough as an auctioneer. Jill Bennett as Maitland's wife Jane whose life is in danger while she sleeps as her husband grapples with plunging a dagger into her. This is definitely Cushing's film. He has many scenes where it's just his character alone with the skull, attempting unsuccessfully to fight the evil desiring to overtake him. Peter Woodthorpe has a memorable role as the nosy landlord of Marco's, whose poking nose sends him to an early grave.
Probably the film's most bizarre, baffling set-piece is a nightmare where Maitland is forced by cops into a car, led to a strange building with a judge forcing him into putting a gun to his head, before carting him off to a room as a colorful poisonous gas enters through vents.