Ah yes, that most infamous of occult symbols: the hexagon.
Neither age nor renown are any guarantor of quality, good or bad; this 1961 film has dwelt in obscurity since its release, but so too have some contemporary flicks that I've loved. It doesn't take long as the minutes tick by before we can ascertain that this sits on an uneven middle ground - not great, but not bad; interesting and engaging to one extent or another, but definitely no revelation. Some of the scene writing raises a bit of a quizzical eyebrow; on the other hand, some beats and ideas are pretty sharp, and can claim to spark a small measure of earnest excitement. Between those instances of more eventfulness the pacing sometimes seems to lag as the picture relies on dialogue with a flattened milquetoast tone, yet the least that can be said is that Stanley Clements and Laura Jean Mathews penned a screenplay that keeps the plot coming just consistently enough so that the weaker moments are washed over more than not.
Even at its best 'Devil's partner' never achieves a major stroke of brilliance, yet it carries itself more seriously than some of its kin of the 50s, and even at its lesser moments the storytelling is more sincere and carefully penned. Illustrating the point, just before the halfway mark there's a delightful exchange of dialogue between newcomer Nick and a supporting character that cheekily zeroes in on the underlying notions, and from that point on the proceedings gel more cohesively. It's still light by the standards of horror fare to come, but gleefully sinister in and of itself. The story and scene writing are sufficiently solid, with terrific ideas all around, that one can easily imagine how this might look if it were made in the 70s or 80s instead of the 50s. Moreover, though in other regards the presentation isn't anything special, all on hand ably do their part to help bring the tale to life. From director Charles R. Rondeau, to all those in the cast, to those behind the scenes including animal handlers, the feature is modest but suitably well done.
One does perhaps wish that more care had been applied toward enriching the realization of Clements and Mathews' story: in the scene writing, in the direction and acting, in the makeup and art direction, and so on. It's certainly not that anything here is specifically bad, only that the full potential of the narrative, or even the root concept, is lost for lack of vitality, detail, and imagination. Whether it was limited availability or dispensation of resources, or just a discrete fault on the part of the people involved, most elements here were treated too softly to make a significant mark. Still, despite such shortcomings - and other notable quirks like composer Ronald Stein's obsession with the theremin - I think the end result remains duly enjoyable. Maybe I'm being overly generous, but I'd even say that this is better than not; the ideas are firm enough to help prop up the more limp aspects. No matter how you slice it 'Devil's partner' is far from a must-see, and I couldn't really begrudge those who engage honestly and hold it in lower regard. However, I entered with expectations that were mixed to low, and I find the title at least satisfying enough that I can say I wouldn't mind watching again (though I definitely wouldn't make a point of it). Temper your expectations, and keep it reserved for something less involved on a quiet day, but there are far worse ways to spend seventy-three minutes.
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