The Global Censor’s Scythe: Unveiling Where The Devils Was Banned
Ken Russell’s 1971 cinematic masterpiece, *The Devils*, remains one of the most polarizing and heavily censored films in history, a visceral exploration of religious extremism, sexual repression, and political corruption. Indeed, to ask “Where was *The Devils* banned?” is to embark upon a global journey through the often-fraught relationship between art, morality, and state control. It wasn’t simply banned in one or two places; rather, its explicit content and scathing critique of institutionalized religion provoked a widespread, often vitriolic, backlash leading to severe cuts, outright prohibitions, and decades of legal battles across numerous countries. From its native United Kingdom to the United States, and deep into the religiously conservative heartlands of Europe and beyond, *The Devils* faced an unparalleled campaign of suppression, making its full, uncut vision a holy grail for cinephiles for nearly half a century. This article delves deeply into the specifics of *where* and *why* this profoundly controversial film incurred the wrath of censors worldwide, examining the unique struggles it faced in different territories.
Understanding the Incendiary Nature of *The Devils*: Why It Sparked Global Outrage
To truly grasp the extent of the bans and censorship inflicted upon *The Devils*, one must first comprehend the sheer audacity and uncompromising vision of Ken Russell’s film. Based on Aldous Huxley’s non-fiction book *The Devils of Loudun* and John Whiting’s play *The Devils*, the film dramatizes the infamous 17th-century case of alleged demonic possession among a convent of Ursuline nuns in Loudun, France, and the subsequent trial and execution of their charismatic priest, Urbain Grandier.
Russell’s adaptation was not merely a historical retelling; it was a no-holds-barred assault on hypocrisy and dogma, presented with a visual flair that was both shocking and unforgettable. Here are the primary thematic and graphic elements that made *The Devils* a prime target for moral guardians:
- Blasphemy and Sacrilege: The film’s most notorious scenes involved the nuns, led by the hunchbacked Sister Jeanne, engaging in sexually charged orgies and self-mutilation, often desecrating religious symbols. The infamous “rape of Christ” sequence, where nuns defile a crucifix, was considered an ultimate act of sacrilege by many.
- Graphic Sexual Content: Beyond the “rape of Christ,” the film depicts intense, frenzied sexual hysteria among the nuns, along with nudity and implied sexual acts. This was presented not for titillation but as a manifestation of repressed sexuality and fanaticism, yet it was universally perceived as obscene.
- Extreme Violence and Torture: Grandier’s horrific torture and burning at the stake are depicted in excruciating detail, designed to be both viscerally shocking and a commentary on the barbarity sanctioned by religious authority.
- Anti-Clericalism and Abuse of Power: *The Devils* is an unvarnished critique of institutionalized religion, portraying the Church and State as corrupt, manipulative entities that exploit faith for political gain. This message, particularly in heavily religious countries, was deemed profoundly subversive and dangerous.
- Psychological Disturbances: The film delves into the disturbing psychology of mass hysteria and sexual repression, themes that were uncomfortable for many audiences and censors in the early 1970s.
These elements combined to create a cinematic experience that was unlike almost anything seen before, making it an immediate lightning rod for controversy and a prime candidate for extensive censorship across the globe.
The United Kingdom: A Battle on Home Soil
Even in its country of origin, *The Devils* faced a relentless battle with the British Board of Film Censors (BBFC). From its inception, the film was flagged for its potentially inflammatory content.
Initial Censorship and Cuts (1971)
Upon submission, the BBFC, then under Stephen Murphy, demanded significant cuts to secure an X-certificate (equivalent to an 18 today). Warner Bros., the studio, reluctantly agreed to some of these demands, but Russell himself was vehemently against any alterations. The initial cinematic release was already a compromised version. The most infamous cut involved the so-called “rape of Christ” sequence and other graphic shots from the nuns’ orgiastic rituals. Even with these cuts, the film was deemed so challenging that its release was precarious.
The Long Road to Restoration and Limited Screenings
For decades, the true director’s cut of *The Devils* remained largely unseen by the public in the UK. Copies of the original version circulated clandestinely, fueling its legend. Film critics and historians, notably Mark Kermode, tirelessly advocated for its restoration.
- The “Complete” Version Emerges: In the early 2000s, an almost complete print, including the “rape of Christ” sequence (often referred to as the “Mad Scene” or “Scene 20”), was located by film historians. This version, though not quite 100% complete due to a few missing frames and a brief dialogue exchange, became the closest anyone had seen to Russell’s original vision.
- Limited Theatrical and DVD Release: Even with this discovery, the BBFC was hesitant. The “complete” version only received a certificate for an uncut DVD/Blu-ray release in 2012, classified 18. Before this, its public screenings were rare, often special events at film festivals or the BFI Southbank, still under specific licensing agreements. This prolonged struggle highlights how deeply unsettling the film remained for British censors, even decades after its original release.
The journey of *The Devils* in the UK is a prime example of persistent censorship, where a film’s integrity was eroded on its home ground for decades.
The United States: Studio Pressure and Moral Panic
Across the Atlantic, *The Devils* encountered similar, if not more aggressive, censorship from the Motion Picture Association of America (MPAA) and widespread moral outrage from religious and conservative groups.
MPAA Ratings and Studio Intervention (1971)
Warner Bros. was desperate to secure an R-rating for *The Devils* to ensure wider theatrical distribution. However, the MPAA, known for its strict morality clauses, initially deemed the film X-rated (equivalent to NC-17 today, but carrying a strong pornographic connotation at the time) due to its extreme content. To avoid this financially devastating rating, Warner Bros. forced Ken Russell to make substantial cuts against his will.
- Key Scenes Targeted: Similar to the UK, the graphic nudity, the sexualized religious rituals, and the intense violence were heavily trimmed or excised. The “rape of Christ” sequence was entirely removed from the general release version.
- The “R” Rated Version: Even after these cuts, the film still carried a significant shock factor. The version released in American cinemas was a noticeably truncated and less coherent work compared to Russell’s original vision.
Regional Bans and Protests
Even with the MPAA’s R-rating, *The Devils* faced significant pushback at a local level.
“The religious right in America condemned it as blasphemous, and local municipalities across the country often banned its exhibition outright or placed strict limitations on where and how it could be shown. This wasn’t merely about age restriction; it was about preventing public viewing altogether.”
Religious organizations mounted protests outside cinemas, organized boycotts, and lobbied local authorities to ban screenings. In some conservative states and cities, *The Devils* was effectively unobtainable or only shown in highly specialized art-house cinemas that were willing to brave the controversy. The fight for its artistic freedom in the US was therefore not just with the MPAA but with a deeply entrenched moral conservatism at the grassroots level.
European Fronts: Italy, Ireland, and Beyond
Europe, with its diverse cultural and religious landscapes, presented a complex tapestry of bans and censorship for *The Devils*.
Italy: The Epicenter of Religious Outrage
Perhaps nowhere was the battle more intense than in Italy, the seat of the Catholic Church. *The Devils* was met with immediate and fierce condemnation.
- Outright Ban and Seizure: Almost immediately after its premiere, Italian authorities, under pressure from the Vatican and conservative groups, banned the film outright. Copies were seized, and its public exhibition was prohibited.
- Legal Battles and Accusations of Blasphemy: The film’s producers and distributors faced legal charges of obscenity and blasphemy. The case dragged through the Italian courts for years, making it a landmark censorship case. Though eventually, a heavily cut version was allowed to be shown, the original vision remained suppressed for a very long time due to the deep-seated religious objections.
Ireland: A Cultural Wall of Censorship
Ireland, with its historically strong Catholic identity and notoriously strict film censorship board, was another country where *The Devils* stood no chance of an easy release.
- Complete Prohibition: The film was banned outright in Ireland upon its initial release, and this ban persisted for many years. Its themes of corrupt clergy, sexual perversion in a religious context, and blasphemy were anathema to the Irish film censors of the time. It took decades for any version of *The Devils* to finally see the light of day in Irish cinemas or home video, and even then, its journey was fraught with difficulty.
Other European Territories
While specific detailed records for every European country are complex, a general pattern emerged:
* France: Despite being the setting of the story and generally having a more liberal approach to cinema, *The Devils* still caused a stir. While not outright banned, it was often screened with an age restriction that limited its audience.
* Germany: The film was released with significant cuts, primarily to sexual content and violence, to comply with German censorship laws.
* Spain: During the tail end of Franco’s dictatorship, and even in the early years of its transition to democracy, Spanish censorship was very strict. *The Devils*, with its anti-clerical themes, would have faced extreme difficulties, likely an outright ban or a heavily mutilated version if released at all.
Australia and New Zealand: Censors Down Under
The film censorship boards in Australia and New Zealand were also known for their stringent policies, especially concerning themes related to sex and religion.
Australia: A Long Road to Uncut Availability
The Australian Film Censorship Board (later Classification Board) initially imposed significant cuts on *The Devils*.
- Initial Rejection/Heavy Cuts: The film was likely initially refused classification or granted an R-rating with substantial edits, particularly to the graphic “Mad Scene” and other explicit sequences.
- Gradual Liberalization and Later Releases: Over the decades, as Australia’s classification system evolved, *The Devils* gradually became available in less cut versions. However, the fully uncut director’s cut, matching the closest available international version, took many years to finally gain an unedited release on home video, typically with an R18+ classification.
New Zealand: Extreme Caution
New Zealand’s Office of Film and Literature Classification (OFLC) historically maintained an even stricter stance than Australia. It is highly probable that *The Devils* faced an outright ban or such severe cuts that its content was rendered almost meaningless upon its initial release. Like Ireland, the themes were too provocative for the prevailing social and religious norms of the time.
Global Fallout: A Web of Prohibitions and the Legacy of Censorship
The story of “Where was *The Devils* banned?” is truly a global narrative of cultural clashes. The common threads linking these prohibitions were primarily:
* Perceived Blasphemy: Its direct challenge to religious sanctity was the most powerful trigger.
* Obscenity: The graphic sexual content, particularly in a religious context, was deemed pornographic by many.
* Anti-Clericalism: Its portrayal of corrupt religious figures was threatening to established institutions.
* Excessive Violence: The torture and execution scenes were considered gratuitously violent.
The cumulative effect of these bans and cuts was that Ken Russell’s original vision for *The Devils* remained largely unseen by the public for over 40 years. It was a film known more by its reputation for controversy and its whispered-about ‘lost scenes’ than by direct viewing. This widespread suppression significantly impacted the film’s initial commercial performance and its critical reception, as reviewers were often seeing a compromised version.
The Director’s Vision vs. Public Morality: A Perpetual Conflict
The ongoing struggle to release *The Devils* in its intended form highlights a perpetual conflict: the artistic freedom of a filmmaker versus the perceived need to protect public morality. Ken Russell himself was deeply frustrated by the cuts, believing they fundamentally altered his message. He saw the film not as an attack on faith but as a cautionary tale against the dangers of fanaticism and the abuse of power, a message he felt was diluted by censorship.
For decades, *The Devils* became a rallying cry for proponents of free speech and uncensored cinema. Its protracted journey from initial ban to eventual, albeit limited, restoration is a testament to the enduring power of its themes and the unwavering dedication of those who believed in its artistic merit.
The Unveiling: The Director’s Cut and Its Limited Release
The true “director’s cut” of *The Devils* is more of a legendary beast than a widely available reality. While a more complete version, including the notorious “Mad Scene,” has been painstakingly pieced together by archivists and made available on certain Blu-ray releases (notably in the UK and some European territories), it still isn’t universally accessible in its fully intended form. Its distribution remains complex, often restricted to specific regions due to lingering classification issues and the film’s continued controversial status.
Even today, screening *The Devils* in some regions can involve special permissions or warnings. This ongoing challenge underscores the fact that while some of the historical bans have been lifted or softened, the film’s powerful content continues to resonate and provoke, keeping its controversial legacy alive.
Conclusion: A Global Odyssey of Suppression
In summary, the question “Where was *The Devils* banned?” reveals a widespread pattern of censorship that spanned continents and decades. It was not merely a matter of a few isolated incidents but a systemic effort to suppress a film deemed too radical, too blasphemous, and too explicit for public consumption.
* United Kingdom: Initial heavy cuts, decades of advocacy for restoration, finally a mostly complete version on home video.
* United States: Forced studio cuts for an R-rating, followed by regional bans and strong religious protests.
* Italy: Outright ban, seizure of prints, and lengthy legal battles due to profound religious objections.
* Ireland & New Zealand: Likely immediate and long-standing outright bans due to strict moral codes.
* Other European Countries & Australia: Varied levels of severe cuts to outright bans, slowly liberalized over time.
*The Devils* stands as a powerful case study in film censorship, demonstrating how deeply a piece of art can challenge societal norms and institutional power. Its journey from a universally condemned and heavily censored work to a grudgingly acknowledged masterpiece, slowly revealed in its intended form, serves as a poignant reminder of the enduring battle for artistic freedom against the forces of moral and religious suppression. It wasn’t just banned; it was engaged in a decades-long struggle for the right to exist in its true, uncompromised state.
