Substantially recut by Boorman after his original version was derided in America, but it's still easy to see why New Yorkers jeered. Boorman completely avoids gore and obscenity, treating the original as a kind of sacred good-versus-evil text, and weaving its sets and characters into a highly traditional confrontation of occult forces. The theme is attacked with engaging intensity, and Boorman brings off more than one visual coup (notably the ingenious locust photography in the African sequences). Dennis Wheatley fans, at least, will love it.
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