Witchcraft had been previously covered in Spell of Evil but the results were less than outstanding. This is far better in all regards - story, characters, performances and direction. Maybe it is the tale of evil inveigling itself into a family which makes such an impact. The Harrows are happy and prosperous and then Charley suffers her terrible accident. Unsurprisingly she becomes upset, bitter and almost unmanageable. Into this transformed situation comes Bessie. Her warmth and kindness are evident. She does not get ruffled by her new charge and starts to make progress but the viewer can tell that all is not well and Charley's sister Ruth is alive to trouble. Against seemingly impossible odds Bessie works wonders - with a little help from down below. The price to be paid for Charley's miracle cure will be immense.
Ruth & Suzy Harrow look up in amazement as their sister Charley stands at the top of the stairs. Their father & Carson are also astounded. |
This is a very dark and disconcerting tale. Bessie's mild-mannered personality makes her evil-doing all the more unsettling. At no point does she get angry or raise her voice. Even under challenge she responds in a taunting and utterly confident manner. Charley is a headstrong character even before her accident and she provides ready material for Bessie who transforms her into something very deceitful and destructive.
Edgar Harrow provides a familiar role as a sceptic, failing to see Bessie's Satanic work until it is almost too late. Security man Carson initially has a similar position but very soon he starts to sense all is not well. Ruth, however, in true heroine mode (and typically for an American guest star!) is alert to danger right from the start and she proves to be a formidable opponent for Bessie.
The character
of the drunken priest Lyle is maybe surprisingly absent for the great majority of the episode, particularly given
Patrick Troughton's profile as an actor. Aside from the teaser and two brief
wordless scenes he does not appear until the final ten minutes. Carson and Simon are two more fine
characters while the briefly seen Fullers (especially the wicked Mrs. Fuller)
are memorable. The only let-down is Suzy who is a little annoying, unaided by a hideous bubble perm. These characters still need
strong performances and they get them. Diana Dors is marvellous and shows that
behind her celebrity image lay a very capable and under-rated actress.
Undoubtedly she is the chief reason for the episode's high reputation. Andrea
Marcovicci is one of the best American guests and plays the heroine part
beautifully. Ed Bishop, Patrick Troughton and Michael Culver are all very
impressive. Ed was restricted to guest appearances after UFO but his display here shows his great ability which deserved
starring parts. Although Linda Liles's legs seem to move more as the paralysed
Charley than any able-bodied character - and her American accent is almost
non-existent - she is still in fine form. The direction is excellent, with the
spells and scenes when Bessie's book and box are examined especially unnerving.
Astutely we never know the contents - the looks of horror say it all.
The climax is generally good - like that in Spell of Evil it is not wholly convincing due to limitations in special effects but it's still better done than in the earlier episode. Earlier on the off-screen killing of Carson's dog Porter is rather unpleasant. It is intended to signify the evil spirit brought into the house (& that the dog - unlike most of its human counterparts - senses something wrong with Bessie) but it would have been best avoided and is maybe the only real fault. Despite this though, one of the very best and most memorable stories.
Notes
It's been
speculated that the name "Simon Burns" may well be a pun on the theme
of fire in this story. It may even be a hint of the possible fate for him if Bessie
is not thwarted. Most likely it is sheer coincidence but an example of how the
show opens up such readings to viewers. Burns was a surname used very frequently in Thriller and Brian Clemens said he often picked names simply because they were earlier to type (!) than for any narrative reason although it's not impossible he may have felt it an appropriate story to use it again.
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