Roddy McDowall’s 1970 retelling of the Ballad of Tam Lin, like its counterpart The Wicker Man, had a troubled release and was destined to rot away in a vault. It was Martin Scorsese who rescued and restored a print for VHS in the 1990s.
A delayed release in the early 70s (as The Devil’s Widow) dated the mod look and it was dismissed by critics: a surface glance might file it away as a swinging vision of camp Hammer Horror.
For a start, its lead is Ava Gardner, in one of those difficult horror roles given to pre-1960s stars – navigated to perfection by Deborah Kerr in The Innocents but usually always ending in disaster never mind how hard the trying (an example might be Joan Fontaine’s 1966 effort The Witches with its promising village setting).
But it’s actually quite a witty, intelligent film with some really beautiful cinematography and solid performances. As McDowall’s first and only film as director, it’s brimming with ideas and techniques, some of which aren’t exactly successful (cue a particularly awkward and entertaining stop-frame segment), but it all adds up to a fascinating spectacle to enjoy on many levels.
McDowall appears to have taken the original material seriously: the locations and landscapes are authentic, filmed around Selkirk in Scotland – specifically Ettrick Forest and Tranquair House. The soundtrack features songs by electric-folk icons Pentangle, including a superb version of Tam Lin, and a couple of beat arrangements apparently supervised by Stanley Myers (who orchestrates girl-with-the-sun-in-her-hair embellishments elsewhere).
What the world looks like through the Devil’s Widow’s sunglasses.
That’s not to say Tam Lin isn’t awash with late 60s stylistic excess, but these exaggerated visions of modern are eery in themselves, and contribute to the success. It’s not nostalgia any more, but a glimpse into the axis-tilt of a parallel universe, an acid-filter processing metaphors for experimentation and otherness. McDowall apparently called Tam Lin a swansong for the sixties.
An early role for Withnail and I’s creator Bruce Robinson (right) as Ava Gardner’s jilted (and typically well-spoken) elf.
The cast includes many familiar stalwarts of British Cinema (in later years, if not at the time). We’ve got Sinead Cusack, her father Cyril, Magpie‘s Jenny Hanley (OK, not exactly a cinema stalwart), Fabia Drake and Joanna Lumley…
Joanna Lumley setting a blueprint for a career. When the Devil’s Widow gets a little irritated with her coven, Lumley announces, deadpan, “Life is an illusion therefore nothing is permanent. I think I shall go to Sweden”.
The Fairy Queen’s cavalcade weaving through the Scottish borders to her castle: at Halloween one of her elves/imprisoned mortals is given as a tithe to hell…
The first indication that Tam Lin is going to be quite a trip: Jenny Hanley and Ian McShane playing frisbee. In slow motion.
If this vision had evolved on a different path to the 21st century, John Lewis would advertise similar glockenspiel and cocktail frenzies instead of barbecues. Hang on a minute, they do, don’t they?
Stephanie Beacham (as Janet, the vicar’s daughter in brown and heroine of the original ballad) delivers a puppy to a member of Ava Gardner’s coven: “She’s not having him! She’s doped or something!”
There are, however, many qualities that make Tam Lin a classic of folk horror, modernity giving way to the ancient in the best traditions of its golden age.
The hills of time…
The village, with ‘local’ people…
The place of simple, certain things.
A beautiful transitional still.
Fabia Drake as a wisewoman – her measured, taciturn look would later grace ‘A Jewel in the Crown’ and ‘A Room with a View’.
Ian McShane’s Tam Linn (or Tom Linn for the 60s) is, like any self-respecting 60s hipster, a photographer.
Under the surface…
Janet finds her double-headed rose, a key feature of the folk tale, in a grocer’s barrow.
One of the many misted or sunlit views of bridges on the borders.
And then the magic begins…
Tam Lin has been released as a Region 1 DVD in a restored print.