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Directed by: Norman J. Warren
Stars: Michael Gough, Martin Potter, Candace Glendenning
Country: Uk | Imdb Info
Also known as: Evil Heritage, El esclavo de Satán, Esclave de Satan, Teufelsbrut – Sklaven des Satans
Description: A woman traveling with her parents to her uncle’s house crash near his house; her parents die but she survives. She stays with her uncle, but it becomes clear that he and his son are planning something sinister for her.
“Satan’s Slave” is typical of the New Wave of British horror in the 1970s, with the focus on a younger character, a contemporary setting, and increased doses of sex and violence. Candace Glendenning, a brunette beauty with a striking pair of blue eyes, is featured as Catherine, a young woman about to turn 20 who travels with mum & dad to visit the long unseen Uncle Alexander (a solid Michael Gough, rocking an impressively big and bushy moustache here), who lives in a country estate with his unhinged son Stephen (Martin Potter) and his luscious secretary Frances (Barbara Kellerman). We know from the start that there’s something definitely not right here, but it takes Catherine a while to really wise up. In the meantime, she finds herself falling for cousin Stephen!
In addition to the incest element of the package, “Satan’s Slave” includes other exploitative ingredients such as female nudity, and some harsh violence, with killing implements thrust into eyeballs and mouths. One thing that really makes watching the movie worthwhile is its wonderfully depraved scene involving a pair of scissors, which occurs quite early on in the movie. The pacing is rather sedate, but this also allows director Norman J. Warren to establish an atmosphere of doom & gloom.
The screenplay is courtesy of David McGillivray, who also does a cameo as a priest. Like so many other films of this time period, “Satan’s Slave” isn’t afraid to end on a downbeat note. John Scotts’ music score is fitting and adds to the ambiance. The acting is right on the money, with fine performances by Gough, Potter, Glendenning, and Kellerman.
Overall, this is an enjoyably sordid, low budget (it only cost about 15,000 pounds to make) for any viewer who delights in discovering these British genre efforts.