This is a terrible film and it's amazing that the film producers were able to get many respectable actors to appear in it. Now the fact that William Shatner appears in DEVIL'S RAIN isn't much of a surprise, but it is surprising that his performance is rather restrained. He does what he can with the silly material. But, for people like Ida Lupino, Keenan Wynn, Tom Skerritt, Eddie Albert and Oscar-winner Ernest Borgnine, it's amazing that they act in a film as dopey as this one. Of all the actors, the one who deserves the biggest round of Bronx cheers is Borgnine, whose performance is utterly awful--particularly when he, believe it or not, transforms into a ram-man late in the film. No, I am not talking about the football team, but Borgnine undergoes a weird transformation where he dons horns and an entire male sheep's head! You've gotta see it to believe just how far Borgnine fell since his Oscar-winning performance starring in MARTY!

The film begins in the middle of the desert in the Western United States. A lone house occupied by Lupino, Shatner and some old guy (whose role is never defined in any way) is suddenly attacked by supernatural forces during a freak rain storm. Apparently, some Satan worshipers are making this happen until they get some sacred book that Shatner's mother (Lupino) is hiding. When they won't give it up, Lupino is kidnapped and Shatner goes to an abandoned Old West town to get her back from these evil scumbags. However, in a silly contest of wills, Shatner not only loses but is forced to join the group of eye-less zombies in this coven.

Later, Shatner's brother (Tom Skerritt) shows up at the house and is told by the old dude that Shatner has gone to the ghost town. Now it's obvious that the house was ransacked but the sheriff said he and his men were too busy to look for Shatner and Lupino! Shouldn't this have been a warning sign?! Despite this, Skerritt and his lady friend go to the abandoned town for a showdown.

Once there, they see evidence of the coven and Skerritt actually sees Shatner forced by some mumbo-jumbo to become an eye-less zombie. He sends the lady for help and just manages to escape on his own. Unfortunately, she is captured and Skerritt and Eddie Albert (who's an old man) on their own return to the city to face a huge coven of evil demonic Lucifer lovers! Wow, talk about great planning! Once there, there is a dumb showdown where again and again, Albert and Skerritt show they have the combined IQ of a muskrat. Skerritt has a rifle, yet jumps from the balcony to fight the hoard with his bare hands. Albert grabs some cool TV set-like device that the coven needs and threatens to break it--but instead of just doing it, he gives everyone ample opportunity to kill him or take back the cosmic TV.

Despite him being about 70 and giving them every chance to get it back, he still manages to smash the TV thingy and then all the evil folks start to melt like they are made of gallons of colored latex. It's all rather gross but funny at the same time. Now normally, seeing these people melt would have taken up about a minute of screen time. However, the special effects gurus must have been relatives of the director and this melting sequence takes about ten minutes (I am not exaggerating). Most of the ten minutes consists of "actors" writhing about as green pudding shoots out their eyes and gallons of Creepy Crawler goop comes dripping out of their skin. Then, out of the blue, there is an ending that is cool to watch but doesn't make much sense, but considering the film so far, who's to quibble about the ending?! As you read this, you are no doubt shocked at how silly the whole thing sounds. Well, it surely was but in some odd way it was also watchable because it had a certain stupid charm. Plus, seeing respected actors (I am not including Shatner in this statement) making fools of themselves is a lot of fun. Additionally, if you look carefully, you can see a very young John Travolta making an idiot of himself in his first film. Look for the cleft chin and nose--you can't miss it.

Anton LaVey appears in a small role as a Satanic priest and organist as well as a script consultant for the film. Being the leader of the Church of Satan in California and author of "The Satanic Bible" somehow gave him some great insights into how to improve the script and make it more realistic. Yeah, right.

Finally, I really liked the opening credits. Having the camera slowly pan across paintings of Hell by Hieronymous Bosch while eerie music played was very effective and spooky. If you have a chance, try picking up a book or do a web search of Bosch's works--they are amazingly bizarre and unusual when seen today. Believe it or not, when he was painting in the 15th and 16th centuries, he was very popular and others often copied his odd symbolism. Today, Goths and all-around weird people (like myself) enjoy his work, though I will admit it's an acquired taste!

After the success of Rosemary's Baby and The Exorcist Hollywood put out a whole slew of films dealing with the black arts and Satan worship. This one even had a consultant from the Church of Satan. Several players who ought to know better did this one for a paycheck.

Ernest Borgnine hams it up big and broad as the leader of Satan church, a church that he converted from a Congregationalist puritan church to one swearing allegiance to old Scratch. Somebody in the congregation stole the book with the members sworn in blood to the devil and that's held things up with Satan claims in limbo. Been that way for 300 years or so and the church is now out in Kanasas somewhere

William Shatner, Ida Lupino, Keenan Wynn and Eddie Albert are all in this together and it's a camp hoot. That last and very soggy climax is one for the books.

Are there folks out there besides Satanists who like these films?

THE DEVIL'S RAIN is a fine little devil worship horror yarn from '70s America which would go nicely in a double bill with the equally good RACE WITH THE DEVIL, which came out in the same year. There's plenty of similarities between the two movies, but while the other has the slight edge this is still a very good movie. What I liked most about this one is that it's completely unconventional: most movies of this era take a gradual build-up approach, like that seen in ROSEMARY'S BABY, where the movie begins with a depiction of normal, everyday life before gradually stripping away the layers and descending into hell. Not so here: from the start we're in the thick of black magic chaos, as an innocent man turns into a rumpy, rain-sodden mess for no apparent reason and a house is trashed by evil forces.

There's little story to this, other than that seen in a flashback, and the film doesn't need it, either. It's set out in the middle of a bleak desert wasteland, brought to life with excellent landscape photography. A dwindling number of 'good guys' are set against an endless number of evil cult members who have extremely creepy, no-eye makeup. The battle for power ebbs and flows between the two factions until a twist ending which is well remembered as the film's highlight.

Another great asset is the cast of B-movie notables. William Shatner's here, doing some of his finest emoting, and he shares heroic duties with Tom Skerritt, who's as well used here as he was in ALIEN. You have Ernest Borgnine overacting as the leader of the devil cult, sometimes turning into a goatish devil incarnate although sadly the cheesy goat makeup isn't up to the job and this is the one failing of the movie. There are lots of old-timers, too: Keenan Wynn in a cameo as the Sheriff; Woodrow Chambliss as the loyal retainer; Ida Lupino; good old Eddie Albert is a good guy as well. An unrecognisable John Travolta appears in his first movie role, a year before CARRIE, and even real-life Satanist Anton Lavey and his missus pop up for cameos. Claudio Brook, who was a staple of Mexican horror cinema, turns up as a preacher.

The film has plenty of action and moves at an astounding pace, but there's no lack of atmosphere, either. British director Robert Fuest had a good eye for the bizarre (he did the two DR PHIBES flicks) and he uses it to an advantage here. The film is chiefly remembered for its grisly climax, in which all of the bad guys are subjected to the titular phenomenon and end up melting thanks to some thoroughly effective special effects. No doubt the people who made THE INCREDIBLE MELTING MAN were inspired to do so after watching this flick, and good on them, I say.