THE BLACK TORMENT is one of the more obscure British horror films of the 1960s, barely seen by U.S. audiences since its theatrical run. Never as popular as similar films from Hammer or Amicus, it was directed by the often slammed Robert Hartford-Davis (CORRUPTION, BLOODSUCKERS, THE FIEND) and produced by exploitation king Tony Tenser, who would soon go on to form Tigon Films and bankroll some of the most important genre efforts of the late 60s and early 70s. A famous anecdote has Tenser tearing out ten pages from THE BLACK TORMENT’s shooting script when the production fell behind!

Like many British gothics of the era, THE BLACK TORMENT was shot as a period piece (on location and in and around Shepperton Studios) and is quite lavish for a low budget effort. In the 18th century, wealthy aristocrat Sir Richard Fordyce (John Turner) returns from his honeymoon with new bride Lady Elizabeth (Heather Sears, the heroine of Hammer’s THE PHANTOM OF THE OPERA). Greeting him at the manor is his father (Raymond Huntley, from Hammer’s THE MUMMY), a wheelchair-bound-stroke victim, and other tenants include Diane (Ann Lynn), the sister of Sir Richard's late first wife Anne, and her cousin Seymour (Peter Arne, THE OBLONG BOX). Strange occurrences around the manor have many in town believing that Sir Richard is responsible for the rape and murder of a girl named Lucy Judd – he was witnessed at the scene of the crime, but it’s more likely that someone who resembles him is responsible. To make matters more complicated, his first wife Anne – who leaped from a window to her death years earlier – appears as a white apparition and cries out "murderer" in the middle of the night!

With the opening murder of a beautiful village girl (Edina Ronay, from Hammer’s PREHISTORIC WOMEN) by an unseen assailant in the woods, the mood is set for the horror and melodrama to follow. The film is a bit talky but never uninteresting, with a sharply structured, if somewhat predictable script by Donald and Derek Ford (of the Holmes vs. the Ripper classic, A STUDY IN TERROR). The costumes and sets are all impressive, while the shocks that come far and few between are worth the wait. The film’s style comes closer to the color Italian horrors of the early 60s rather than that of Hammer, and the mix of costumes and ghosts resembles“Wuthering Heights” in execution. The acting sometimes comes across as hammy (with John Turner really relishing the role), but the cast is capable enough. There are a number of other performers in the cast associated with Hammer, including Francis De Wolf and Patrick Troughton, and there’s a well-orchestrated swordfight at the end. For those who collect English Gothic on DVD, THE BLACK TORMENT can be recommended as a welcomed addition to the collection.

Redemption has released THE BLACK TORMENT through Image Entertainment in the U.S. Obviously taken from a print source rather than a interpositive/negative, the full frame transfer is sufficient but not sparkling. There are some minor specs and blemishes in spots, and the cold Eastman colors look a tad faded, fluctuating throughout. Some nighttime scenes look a bit too dark. Overall, it's not a terrible or unwatchable transfer, especially since this title is so rarely seen. The open matte suggests the film should be letterboxed at 1.85:1, but the extra breathing space might make some viewers happier. The mono audio is fine, with the rousing score by Robert Richards coming across nicely. A still gallery is here as a supplement, and includes production photos, poster art, and various video covers. (George R. Reis)

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