his film has been so hard to get hold of in a dvd format that will play on uk players, so I was really pleased this dvd is region 0 , so it will play all over the world.
the only downside is it does sell at a premium price.
This is a little known film by the cult director Michael Reeves. He only directed three full length films, with Witchfinder General (or The Conqueror Worm) being his best known.
Well filmed in a lurid, tacky, down at heel, sixties London, after a slightly slow start, it develops into an engrossing study of the corrupting effects of unlimited power. In this case mind control.
In terms of sex and violence it is no more explicit than a sixties or seventies tv series, but the bleak consequences are filmed with real conviction.
This is a 60’s classic.I believe it was Boris Karloff’s last movie in an incredible career,and at the age of 81,he turns in a fine performance.There is genuine horror in this.Ian Ogilvy is very good too.Essential if you like anything of this genre.
Back in the 1980s I replaced most of my collection of 8mm movies with VHS and I have been going through a same process of upgrading to DVD for the last few years. This has given me the excuse to revisit many films that I have not seen for some time and I have watched this movie again just recently for the first time in several years.
The Sorcerors was made in 1967 by Tigon, who shared the same pool of stock actors as Hammer and also made use of the Bray studios and their films had a similar feel and atmosphere. Directed by Michael Reeves, who also made ‘Witchfinder General’ for Hammer and starring Boris Karloff, Ian Ogilvy and Catherine Lacey the film has an eerie atmosphere and although not a massive hit in the cinemas has developed a cult following 40 years later,
Elderly scientist (Karloff) and his wife (Lacey) have developed a technique for mind control and persuade Ogilvy to become their guinea-pig but matters get out of hand when Lacey becomes obsessed with the power of controlling a young man and sharing his vicarious pleasures.
Not my favourite film of the era but a classic worth adding to the collection.
Terrific low budget Brit horror flick staring the always fabulous Boris Karloff..As the headline suggests watch out for early appearance by Susan George as Ogilvy’s teen bit on the side..
Very interesting film, I had heard a lot of this film and it really lived up to the hype. Much better than the overrated WITCHFINDER GENERAL. a really good film. THe picture quality is really good and the blu is region free. Another great release from odeon.
“The Sorcerers” is an excellent of-its-time British low-budget thriller (though it’s described as a horror, I don’t really class it as such) made by Tigon Productions and directed by the late Michael Reeves (1944 – 1969), who is better known for his later film “Witchfinder General” (1968). It’s from an idea and original screenplay by the late John Burke, though you wouldn’t know that from the credits.
The blu-ray picture quality couldn’t be much better, having been well restored with typical deep, glowing colours of the time (1967), no damage, debris or sparklies evident. The unusual story-line benefits from the added bonus of a look at a film-maker’s perception of the “swinging” London club scene of the time, though the music played in the club scenes is typical mid-60’s film library fodder and that played by the club band is more average 1964/5 rhythm and blues than the pop and psychedelic music associated with the time – there’s no trace of Sgt. Pepper-style psych or pop at all. The only realistic “swinging” London thing here is in fact a plethora of mini-dresses on the leading ladies, including Susan George. Outside the club scene London is portrayed as a grey, grim place. Boris Karloff stars whilst the other male lead is a young, arrogant and suave Ian Ogilvy, which should keep the ladies happy (indeed his character appears to be keeping several of them happy in the film).
The sound is an acceptable LPCM mono 2.0 but would have benefited greatly from what would appear to have been an easy remix into stereo or even a little ambient surround-sound to give you a choice of audio, whilst retaining the original. Perhaps the lack of this was down to cost. Unusually for a blu-ray, you get a nice colour booklet (a substantial 20 pages) of information and pictures relating to the film and peripherals, including a couple of interviews (by Johnny Mains with Tom Baker and Ian Ogilvy), though there is nothing on the film’s restoration. There is also the added bonus of one of the film’s posters occupying the full reverse of the case cover.
If you like the film as much as I do, I can also recommend the associated hard-back book “The Sorcerers: The Original Screenplay” by John Burke, edited by Johnny Mains, which, as well as containing the text of John Burke’s original film outline from 1965, then called “Terror for Kicks”, also contains the text of John Burke’s original story and screen play of “Terror for Kicks” and much extra connected and interesting information, including how the final screenplay evolved. All this restores John Burke to his rightful place as the original writer of the story and screenplay which was later slightly altered by Michael Reeves and Tom Baker (no, not that one) at Boris Karloff’s request to change his character’s profile from an evil baddie to a not-so-evil baddie, John Burke being too busy with other work to do this. That resulted in Tom Baker and Michael Reeves being credited with the screenplay and Burke relegated to a “from an idea by” position ever since, even on this new 2014 blu ray edition which, on the rear cover, credits the screenplay to Baker and Reeves with no mention of Burke. In the booklet’s text of an interview of Ian Ogilvy by Johnny Mains, Ogilvy is asked whether he read Burke’s original screenplay and says that he knew nothing of it until Mains told him. The book’s a limited edition of 500 so be quick (I’ve just received my copy so it is still available, probably as it’s very much a niche subject) but it should also be out in a more affordable paperback edition.
Both the film and the associated book are highly recommended.
ODEON come up with yet another winning disc of a horror movie from the 60s.This one has an ill looking KARLOFF still giving a great performance in this MICHAEL REEVES movie he made before his classic WITCHFINDER GENERAL .This movie has the 60s all over it from WIMPY remember them to the great 60s music.Now for the disc the sound and picture are both very good a lot better than the dvd on the extra front we have a nice booklet a poster of the movie on the inside cover and on the disc we have THE BLOOD BEAST THE FILMS OF MICHAEL REEVES, THE MOVIE TRAILER IMAGE GALLERY.and a MICHAEL REEVES short.So if you enjoy classic horror were all you need for spfx is a chair and a projector then this is a must great stuff well done ODEON keep them coming
Michael Reeves’ The Sorcerers (1967), starring Boris Karloff, became a barely noticeable cult film in a cinematically innovative era. A few prominent, hip critics took note of Reeves, and, in some quarters, predictions were made that he could become a horror director of the caliber of James Whale, Tod Browning, Jacques Tourneur, or Terence Fisher.
Reeves’ had only made one previous film, the low budget The She Beast (1966) starring horror icon Barbara Steele, but it was imitative of Mario Bava’s work and received scant notice. In contrast, The Sorcerers was stylish, quirky, and unique, although it was also low budget and barely made a profit. Still, it resulted in Reeves’ being given a larger bankroll to work with in his third film: the critical and box office hit Witchfinder General (1968) starring Vincent Price.
Reeves’ death of a drug overdose at twenty-five, shortly before the release of Witchfinder General, affected that film’s reputation. Reeves was hailed as a tragic auteur in the James Dean mold. Since then, Witchfinder General has long been lauded as one of Price’s finest films. Its was considerably helped by the actor/star himself, who listed it as one of his two personal favorites, along with Theater of Blood (1973). Having a historical subject, Witchfinder General defies its period, is highly esteemed, frequently revived, and has been readily available throughout the video age.
In light of Witchfunder General’ s reputation, The Sorcerers was considered a lesser, obscure effort, partly because it seemed more dated and did not have a vital star to promote it (Karloff died a mere week before Reeves). Nor did the actor’s fans promote it. Instead, of Karloff’s late films, they waxed sentimental about Peter Bogdanovich’s Targets (1968), feeling that film was a truer coda for the “King of Horror.” It was only this year that The Sorcerers was finally made available on DVD as part of the Warner Archive collection.
The aged and poverty stricken Professor Marcus Monserrat (Karloff) is a long publicly disgraced hypnotist who invents a machine (cue sci-fi mumbo jumbo) which allows him and his wife Estelle (the delightfully vile Catherine Lacey) to project their consciousness into the minds of others. The Monserrats live in a dilapidated London flat during the swinging 60s (cue sex, drugs, and rock n’ roll), and Estelle is corrupted from bitterness due to her husband’s fall from grace. The couple find a willing guinea pig for their gizmo in stud Michael (Ian Ogilvy). Michael, bored with sex, drugs, and rock n’ roll, agrees to be strapped into the Professor’s mind-altering gizmo (cue psychedelia). Although clearly a product of the 60s, The Sorcerers is imbued with a stylish, compact, contemporary impudence that transcends mere period novelty.
Once the couple psyche into Mike’s experiences, Estelle begins making up for lost years. She quickly becomes addicted to the experience, which causes her to become increasingly imbalanced. After she forces Mike into hedonism, theft, and murder, a battle of wills between Estelle and her husband leads into Being John Malkovich (1999) and Scanners (1981) territory.
The Sorcerers stands out as a respite from Karloff’s humiliating last years. Although seriously ill, the actor gives an admirably subdued performance that rises to a crescendo in the final showdown with his wife. As good as Karloff and Ogilvy are, it is Lacey who steals the film.
The lower budget trappings actually enhance the grittiness of a film that seems to be saying something about the jaded nihilism of the “I, me, mine” culture (well, at least it noticed it).
The Sorcerers is directed by Michael Reeves who also co-writes the screenplay with Tom Baker from an original idea written by John Burke. It stars Boris Karloff, Ian Ogilvy, Catherine Lacey, Victor Henry and Elizabeth Ercy. Music is by Paul Ferris and cinematography by Stanley A. Long.
When aged scientist Marcus Monserrat (Karloff) tries a new hypnosis machine on bored young man Mike Roscoe (Ogilvy), he and his wife find they can control his actions and experience what he is experiencing. Initially this breakthrough is a rewarding one, but Marcus’ wife Estelle (Lacey) wants more and soon things start to get decidedly amoral.
Michael Reeves sadly died of an accidental drug overdose aged just 25, this having crafted the Cruel Britania brilliance that was Witchfinder General. Prior to that he helmed The Sorcerers, an equally great production, a sci-fi horror fusion that pulses with a pessimistic tone. There’s no great budget for the talented young director to work with, but it barely matters, in fact it benefits the film greatly, as the two elders (Karloff wonderful, Lacey magnificent) live vicariously through Roscoe’s (Ogilvy fresh faced and perfectly exuding a bored man after further thrills) misadventures. But the kicker here is that it is Karloff’s scientist who recognises things are going out of control, and it is he who strives to stop his obsessed wife from committing heinous acts.
Set to the backdrop of swinging sixties London, with mini skirts, Brit pop music and Norton motorbikes firm period reminders, The Sorcerers captures the zeitgeist of the time. Blending psychedelia with sci-fi and amoral horror with wistful yearnings, film comes out as an original piece of work. Thematically, as has been noted by the critics who have afforded this under seen classic some time, it says youth is wasted on the young while also planting us the film viewer in the metaphor chair. If Reeves was being caustic we will never know, sadly, but it does bear thinking about in light of how horror films, and their blood thirsty fans, would evolve come the millennium. Michael Reeves a visionary?
From Lacey bringing one of horror’s forgotten monsters to life, to a no cop out ending of pure bleakness, The Sorcerers never lets up on gnawing away at the senses. An original film made by an original director, and deserving of more widespread exposure. 8/10
Michael Reeves 2nd feature film (after “Revenge of the blood beast” and prior to “Witchfinder general”, his last) is a good one. Karloff is sympathetic and moving as a “scientist” who inadvertently unleashes a killer on Swinging London. Catherine Lacey is really effective as his wife, whose manifestation of suppressed desires lead to tragedy. And Ian Ogilvy is fine as the “innocent” tool of the old couple. The film also works as a clear metaphor for the cinema experience itself. The DVD transfer is not great – some scratches and dirt are apparent at times – but the film is still eminently watchable. A cleaned up/restored print would be nice someday. The extras are good, esp. the comprehensive doco about Reeves.
“The Sorcerers” is the tale of an elderley couple who construct a machine by which they can access the sensations of younger people, and through controlling their victim, relive their youth. They seduce a young man back to their home and through him begin to experiment with an ever-darkening range of activities.
This is top stuff, worthy of an Avengers or Man From UNCLE scenario. The acting is excellent, of a way higher standard than you’ll get in a modern horror, with the elderly wife particularly good as she becomes seduced by an almost demonic lust for macabre thrills.
Made in the ’60s, the whole backdrop (and its music) is excellent too, with many scenes set in a mod club where the victim (Ian Ogilvy, later “The Saint”) hangs out with his friends looking for new experiences and highs.
A thoroughly recommended piece of ’60s horror, with a nice tight story, an atmospheric background and good acting.
Whilst features of this DVD are basic the film itself is great. In one of very few color films that Boris Karloff stars in he is a hypnotist who develops a way of experiencing the sensations of his patients. However his wife gets obsessive and gains more and more control of one of the “guinea pigs” in the trial run of the experiment and leads to the downfall of all three involved. This is a must watch film because it has a gripping storyline and a lot going on at the sidelines. A very good performance from Karloff.
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his film has been so hard to get hold of in a dvd format that will play on uk players, so I was really pleased this dvd is region 0 , so it will play all over the world.
the only downside is it does sell at a premium price.
This is a little known film by the cult director Michael Reeves. He only directed three full length films, with Witchfinder General (or The Conqueror Worm) being his best known.
Well filmed in a lurid, tacky, down at heel, sixties London, after a slightly slow start, it develops into an engrossing study of the corrupting effects of unlimited power. In this case mind control.
In terms of sex and violence it is no more explicit than a sixties or seventies tv series, but the bleak consequences are filmed with real conviction.
This is a 60’s classic.I believe it was Boris Karloff’s last movie in an incredible career,and at the age of 81,he turns in a fine performance.There is genuine horror in this.Ian Ogilvy is very good too.Essential if you like anything of this genre.
The Sorcerors was made in 1967 by Tigon, who shared the same pool of stock actors as Hammer and also made use of the Bray studios and their films had a similar feel and atmosphere. Directed by Michael Reeves, who also made ‘Witchfinder General’ for Hammer and starring Boris Karloff, Ian Ogilvy and Catherine Lacey the film has an eerie atmosphere and although not a massive hit in the cinemas has developed a cult following 40 years later,
Elderly scientist (Karloff) and his wife (Lacey) have developed a technique for mind control and persuade Ogilvy to become their guinea-pig but matters get out of hand when Lacey becomes obsessed with the power of controlling a young man and sharing his vicarious pleasures.
Not my favourite film of the era but a classic worth adding to the collection.
Terrific low budget Brit horror flick staring the always fabulous Boris Karloff..As the headline suggests watch out for early appearance by Susan George as Ogilvy’s teen bit on the side..
The blu-ray picture quality couldn’t be much better, having been well restored with typical deep, glowing colours of the time (1967), no damage, debris or sparklies evident. The unusual story-line benefits from the added bonus of a look at a film-maker’s perception of the “swinging” London club scene of the time, though the music played in the club scenes is typical mid-60’s film library fodder and that played by the club band is more average 1964/5 rhythm and blues than the pop and psychedelic music associated with the time – there’s no trace of Sgt. Pepper-style psych or pop at all. The only realistic “swinging” London thing here is in fact a plethora of mini-dresses on the leading ladies, including Susan George. Outside the club scene London is portrayed as a grey, grim place. Boris Karloff stars whilst the other male lead is a young, arrogant and suave Ian Ogilvy, which should keep the ladies happy (indeed his character appears to be keeping several of them happy in the film).
The sound is an acceptable LPCM mono 2.0 but would have benefited greatly from what would appear to have been an easy remix into stereo or even a little ambient surround-sound to give you a choice of audio, whilst retaining the original. Perhaps the lack of this was down to cost. Unusually for a blu-ray, you get a nice colour booklet (a substantial 20 pages) of information and pictures relating to the film and peripherals, including a couple of interviews (by Johnny Mains with Tom Baker and Ian Ogilvy), though there is nothing on the film’s restoration. There is also the added bonus of one of the film’s posters occupying the full reverse of the case cover.
If you like the film as much as I do, I can also recommend the associated hard-back book “The Sorcerers: The Original Screenplay” by John Burke, edited by Johnny Mains, which, as well as containing the text of John Burke’s original film outline from 1965, then called “Terror for Kicks”, also contains the text of John Burke’s original story and screen play of “Terror for Kicks” and much extra connected and interesting information, including how the final screenplay evolved. All this restores John Burke to his rightful place as the original writer of the story and screenplay which was later slightly altered by Michael Reeves and Tom Baker (no, not that one) at Boris Karloff’s request to change his character’s profile from an evil baddie to a not-so-evil baddie, John Burke being too busy with other work to do this. That resulted in Tom Baker and Michael Reeves being credited with the screenplay and Burke relegated to a “from an idea by” position ever since, even on this new 2014 blu ray edition which, on the rear cover, credits the screenplay to Baker and Reeves with no mention of Burke. In the booklet’s text of an interview of Ian Ogilvy by Johnny Mains, Ogilvy is asked whether he read Burke’s original screenplay and says that he knew nothing of it until Mains told him. The book’s a limited edition of 500 so be quick (I’ve just received my copy so it is still available, probably as it’s very much a niche subject) but it should also be out in a more affordable paperback edition.
Both the film and the associated book are highly recommended.
Reeves’ had only made one previous film, the low budget The She Beast (1966) starring horror icon Barbara Steele, but it was imitative of Mario Bava’s work and received scant notice. In contrast, The Sorcerers was stylish, quirky, and unique, although it was also low budget and barely made a profit. Still, it resulted in Reeves’ being given a larger bankroll to work with in his third film: the critical and box office hit Witchfinder General (1968) starring Vincent Price.
Reeves’ death of a drug overdose at twenty-five, shortly before the release of Witchfinder General, affected that film’s reputation. Reeves was hailed as a tragic auteur in the James Dean mold. Since then, Witchfinder General has long been lauded as one of Price’s finest films. Its was considerably helped by the actor/star himself, who listed it as one of his two personal favorites, along with Theater of Blood (1973). Having a historical subject, Witchfinder General defies its period, is highly esteemed, frequently revived, and has been readily available throughout the video age.
In light of Witchfunder General’ s reputation, The Sorcerers was considered a lesser, obscure effort, partly because it seemed more dated and did not have a vital star to promote it (Karloff died a mere week before Reeves). Nor did the actor’s fans promote it. Instead, of Karloff’s late films, they waxed sentimental about Peter Bogdanovich’s Targets (1968), feeling that film was a truer coda for the “King of Horror.” It was only this year that The Sorcerers was finally made available on DVD as part of the Warner Archive collection.
The aged and poverty stricken Professor Marcus Monserrat (Karloff) is a long publicly disgraced hypnotist who invents a machine (cue sci-fi mumbo jumbo) which allows him and his wife Estelle (the delightfully vile Catherine Lacey) to project their consciousness into the minds of others. The Monserrats live in a dilapidated London flat during the swinging 60s (cue sex, drugs, and rock n’ roll), and Estelle is corrupted from bitterness due to her husband’s fall from grace. The couple find a willing guinea pig for their gizmo in stud Michael (Ian Ogilvy). Michael, bored with sex, drugs, and rock n’ roll, agrees to be strapped into the Professor’s mind-altering gizmo (cue psychedelia). Although clearly a product of the 60s, The Sorcerers is imbued with a stylish, compact, contemporary impudence that transcends mere period novelty.
Once the couple psyche into Mike’s experiences, Estelle begins making up for lost years. She quickly becomes addicted to the experience, which causes her to become increasingly imbalanced. After she forces Mike into hedonism, theft, and murder, a battle of wills between Estelle and her husband leads into Being John Malkovich (1999) and Scanners (1981) territory.
The Sorcerers stands out as a respite from Karloff’s humiliating last years. Although seriously ill, the actor gives an admirably subdued performance that rises to a crescendo in the final showdown with his wife. As good as Karloff and Ogilvy are, it is Lacey who steals the film.
The lower budget trappings actually enhance the grittiness of a film that seems to be saying something about the jaded nihilism of the “I, me, mine” culture (well, at least it noticed it).
The Sorcerers is directed by Michael Reeves who also co-writes the screenplay with Tom Baker from an original idea written by John Burke. It stars Boris Karloff, Ian Ogilvy, Catherine Lacey, Victor Henry and Elizabeth Ercy. Music is by Paul Ferris and cinematography by Stanley A. Long.
When aged scientist Marcus Monserrat (Karloff) tries a new hypnosis machine on bored young man Mike Roscoe (Ogilvy), he and his wife find they can control his actions and experience what he is experiencing. Initially this breakthrough is a rewarding one, but Marcus’ wife Estelle (Lacey) wants more and soon things start to get decidedly amoral.
Michael Reeves sadly died of an accidental drug overdose aged just 25, this having crafted the Cruel Britania brilliance that was Witchfinder General. Prior to that he helmed The Sorcerers, an equally great production, a sci-fi horror fusion that pulses with a pessimistic tone. There’s no great budget for the talented young director to work with, but it barely matters, in fact it benefits the film greatly, as the two elders (Karloff wonderful, Lacey magnificent) live vicariously through Roscoe’s (Ogilvy fresh faced and perfectly exuding a bored man after further thrills) misadventures. But the kicker here is that it is Karloff’s scientist who recognises things are going out of control, and it is he who strives to stop his obsessed wife from committing heinous acts.
Set to the backdrop of swinging sixties London, with mini skirts, Brit pop music and Norton motorbikes firm period reminders, The Sorcerers captures the zeitgeist of the time. Blending psychedelia with sci-fi and amoral horror with wistful yearnings, film comes out as an original piece of work. Thematically, as has been noted by the critics who have afforded this under seen classic some time, it says youth is wasted on the young while also planting us the film viewer in the metaphor chair. If Reeves was being caustic we will never know, sadly, but it does bear thinking about in light of how horror films, and their blood thirsty fans, would evolve come the millennium. Michael Reeves a visionary?
From Lacey bringing one of horror’s forgotten monsters to life, to a no cop out ending of pure bleakness, The Sorcerers never lets up on gnawing away at the senses. An original film made by an original director, and deserving of more widespread exposure. 8/10
Michael Reeves 2nd feature film (after “Revenge of the blood beast” and prior to “Witchfinder general”, his last) is a good one. Karloff is sympathetic and moving as a “scientist” who inadvertently unleashes a killer on Swinging London. Catherine Lacey is really effective as his wife, whose manifestation of suppressed desires lead to tragedy. And Ian Ogilvy is fine as the “innocent” tool of the old couple. The film also works as a clear metaphor for the cinema experience itself. The DVD transfer is not great – some scratches and dirt are apparent at times – but the film is still eminently watchable. A cleaned up/restored print would be nice someday. The extras are good, esp. the comprehensive doco about Reeves.
This is top stuff, worthy of an Avengers or Man From UNCLE scenario. The acting is excellent, of a way higher standard than you’ll get in a modern horror, with the elderly wife particularly good as she becomes seduced by an almost demonic lust for macabre thrills.
Made in the ’60s, the whole backdrop (and its music) is excellent too, with many scenes set in a mod club where the victim (Ian Ogilvy, later “The Saint”) hangs out with his friends looking for new experiences and highs.
A thoroughly recommended piece of ’60s horror, with a nice tight story, an atmospheric background and good acting.