The Mephisto Waltz


The Mephisto Waltz eschews the traditional approach to a story of the supernatural – much of the tension of which comes from not knowing to what extent it is true or by what means it is making itself felt to the otherwise rational sensibilities of its protagonists – in favour of colourful effects, fancy dress and lurid dream sequences. The film has all of the allure and none of the ambiguity of the subgenre of folk Horror from which it inherits its visual register: a black dog wears the latex face of a man, California socialites enjoy Sex unrestrained by the bourgeois confines of marriage and a soft-focus female-only nudity extrudes decorously onto the screen at opportune moments. Where the typical “folk horror” set-up might involve an isolated location at which apparently-outmoded beliefs announce themselves through some violent or supernatural event, one of the form’s late-1960s variants reverses the metropolitan person adrift in a landscape motif to bring the Fantastika of the old country to the City, often via a secret society of witches or Satanists. The success of Rosemary’s Baby (1967), adapted from the novel by Ira Levin, set the tone for this slow-burn urban alternative: the more gradual the crescendo of its narrative, the greater the impact of its final scene. The Mephisto Waltz swaps the tension of not quite knowing for the drama of not knowing what might happen next. It is easy to see why the film failed at the box office and easy too to see why it has since gained a cult following:-

The Mephisto Waltz

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