OVERLAY REPORT

The title of Ken Russell’s *The Devils* (1971) is a direct reference to its primary source material—John Whiting’s 1961 play *The Devils*, which was itself adapted from Aldous Huxley’s 1952 non-fiction book *The Devils of Loudun*. The significance of the title is multi-layered, moving from a literal plot device to a broader metaphorical indictment of the characters. ### 1. Literal Significance: The "Possessions" The plot is based on the historical "Loudun possessions" of 1634. The title literally refers to the demons that the Ursuline nuns, led by Sister Jeanne (Vanessa Redgrave), claim have "possessed" them at the behest of the priest Urbain Grandier (Oliver Reed). In the context of 17th-century religious law, the presence of these "devils" is the legal pretext used by the Church and State to arrest, torture, and execute Grandier. ### 2. Metaphorical Significance: The Human "Devils" Critics and the director himself have noted that the plural title is significant because the film is less about the supernatural and more about the "devilish" behavior of the humans involved. * **The Political Devils:** Cardinal Richelieu and Baron de Laubardemont act as "devils" by orchestrating a political conspiracy to destroy the city’s independence. * **The Religious Devils:** Father Barre, the "professional witch-hunter," uses sadistic exorcism methods that the film depicts as more demonic than the alleged spirits. * **The Internal Devils:** The film explores the "devils" of sexual repression (Sister Jeanne’s obsession) and pride (Grandier’s vanity), suggesting that human impulses are the true source of the horror. ### 3. Direct Character References Several characters use the word "devils" or "the devils" in pivotal scenes, often to expose the hypocrisy or irony of the situation: * **King Louis XIII (as Duke Henri de Condé):** In a key scene of cynical theater, the King arrives disguised as Duke Henri de Condé, claiming to possess a holy relic that can instantly exorcise "the **devils**" from the nuns. He uses this to "cure" them, only to reveal the relic case is empty, proving the possessions are a fraud. Despite this, the authorities continue the trial, showing that the "devils" were merely a political tool. * **Father Barre:** During the torture of Grandier, Barre insists that they must drive out "**the devils**" residing in the priest’s body so that he can feel the full weight of the pain and be forced to confess. He specifically says: *"If they are not driven out, your **devils** might... prevent the torture being as excruciating as it should be."* * **Urbain Grandier:** Grandier mocks the superstitious nature of the accusations. In response to Barre’s rituals, he asks: *"**Devils** in pieces of wood now, Barre?"* (referring to the torture instruments being "blessed"). Later, when speaking of his own internal turmoil and his forbidden marriage, he tells Madeleine: *"I'm purging my own **devils**."* * **Sister Jeanne:** Throughout her "fits," Jeanne screams about the "**devils**" inside her, specifically naming Grandier as the "warlock" who sent them. In summary, while the characters use the term to describe literal demons to justify their cruelty, the film uses the title to point the finger back at the characters themselves as the true "devils" of the story.