https://www.indiewire.com/news/general-news/the-devils-ken-russell-directors-cut-explained-censored-nuns-sex-1235210957/
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“Ultimately, “The Devils” was deemed too intense for modern audiences in 1971.”
“It will be the first time audiences can see Russell’s intended version, and it is a 4K restoration assembled from the film’s original camera negative that showcases Russell’s hallucinatory imagery like it has never been seen or heard before.”
“(October 30 in the U.K.), Clockwork will theatrically release the director’s cut of “The Devils” that premiered at Cannes.”
“Read More: Cannes Clockwork Film Ken Russell The Devils Daily Headlines Daily Headlines covering Film, TV and more.”
““And Ken said, ‘This is the version of the film that I want people to see.’” When introducing the film at Cannes, Elize Tribble Russell, the director’s widow, reminded the audience that Russell was a dancer before becoming a filmmaker.”
“Based on Aldous Huxley’s 1951 book “ The Devils of Loudun,” and the hard-to-believe real-life story of a Roman Catholic priest, Urbain Grandier, being burned to death in 1634 after he was accused of seducing an entire convent of Ursuline nuns by making a pact with the devil, the film’s premise is certainly fantastical.”
“And that it did: the film’s release caused a scandal.”
“R-rated version] had a huge hole in the middle of it because there was a key sequence that Ken said was some of his finest work that had not been able to be shown.” For director Paul Joyce’s 2002 documentary about the film, “Hell on Earth: The Desecration and Resurrection of ‘The Devils,’” Russell and Kermode decided to hunt for the scenes and footage that were removed from his original cut, and, according to Kermode, “after a very, very long search and a lot of flukes and strange coincidences, we found the sequences.” That found footage was first featured in the documentary, and afterward, Russell and his longtime editor Michael Bradsell cut that central sequence back into “The Devils,” along with adding back some footage to the film’s ending, which, according to Kermode, “was very important for [Russell] in terms of the tragedy of the story.” In 2004, Bradsell and Russell’s newly restored Director’s Cut existed only on a digibeta tape, and Kermode arranged for that low-quality version to screen at the National Film Theater in London.”