The World of Movies: Incubus
Written by Rachael Crawley
The World of Movies is a series that explores global cinema, drawing on films from many countries, industries and eras. This week, we speak the international language together.
Incubus.
May contain spoilers.
Content warning: Contains scenes of, and allusions to, sexual violence.
“But wait!” you ask. “Why are we reading about an American movie in a column on world cinema? Besides, didn’t we already do Make Way For Tomorrow last year?”
Yes, dear reader, you are correct. But at the same time – how can I turn down a movie in Esperanto?
This is an American film, starring a Canadian actor, filmed entirely in a language constructed by a Polish-born ophthalmologist who wished to bring peace between the different peoples of the world. In my mind, this is exactly the spirit this column wants to support. Ni komencu! Let’s begin!
Incubus (Leslie Stevens, 1966) takes place in Nomen Tuum, a town overrun with supernatural events. Renowned for its healing powers, it is also prone to malevolent succubi. William Shatner, who knows a thing or two about other worlds, stars as soldier Marc – and yes, this is pre-Star Trek. He and his sister Arndis (Ann Atmar) have sought the town to heal his old war injuries. A succubus named Kia (Allyson Ames) and her companion Amael (Eloise Hardt) are busy luring away new souls. Marc, to whom Kia is immediately attracted, presents an obstacle.
Their love affair – chaste, at his insistence – threatens to destabilize Nomen Tuum’s existence. Amael sends Arndis, blinded and rendered mute, to break them up. Marc wants to marry Kia in a Catholic church, more or less immediately, but they are thwarted by the town’s spirits and the efforts of the two women. I found it interesting that Amael treats this sacred bond (it is implied that the two, despite having just met, have really been in love for millennia) as something profane, equivalent to the Devil in her eyes. Her plan works, for a time, as Kia is repelled by Marc’s purity. An incubus is summoned, and goes on a rampage aimed at the newcomers – but still, Kia and Marc’s love has an undefeatable strength.
Incubus.
From the beginning, the viewer knows that something is off, especially with the rapid camera work and disjointed editing. Its cinematography is well-constructed, making full use of the town’s imagery (with rampant use of odd angles). The images strung together often don’t make sense – the viewer does not know where they stand. The film’s eerie and otherworldly score contributes to the unsettling feeling. The film is obviously low-budget, and some of its scenes can be cheesy, but overall its creepy mood is quite effective.
This film was a real treat for me, as I have rarely heard spoken Esperanto. I’m also very curious about actors who perform in languages that are new to them – regardless of the quality of the performance, it is a brave move. While Shatner’s iconic voice always shines through, he is confident with the words. Always charismatic, he can verge on over-the-top. Though he is famous for this acting style, this is actually one of his subtler performances. Allyson Ames captures Kia’s power and vulnerability very well. Her command of Esperanto is perhaps the most natural-sounding in the film. (Marc and Arndis, however, seem to be English speakers, judging from a few scattered lines – emphasizing again that this town is not of our world.)
Small drawbacks aside, Incubus is an engaging cult movie. It draws on the deepest of cultural and religious questions to create a truly frightening story, aided by some impressive technical work. It is notable for its use of Esperanto alone, but horror aficionados and William Shatner fans should definitely take a look. While not always an easy watch, this movie has several unique features that really allow itto stand out.
Rachael Crawley holds a Master's Degree in Film and Photography Preservation and Collections Management from Toronto Metropolitan University, and has worked with film in Canada and in Europe. She adores language and cinema, and how these subjects interact with each other.