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Ken Russell's The Devils restored and re-released uncut in UK cinemas

Ken Russell's 1971 film The Devils, long censored and banned, has been restored and re-released in its complete form in 2026. Reviews in The Guardian and Collider praise it as a landmark, with different emphases.

2 outlets · 1L · 1C · 0R First reported Account updated
Image: The Guardian
Image: Collider

1 / 2

The story, neutrally told

Mixed · 2Ken Russell's 1971 film The Devils has been restored and re-released in its complete form after years of censorship. Left · 1The Guardian's Peter Bradshaw describes it as a film originally banned for obscenity, and says Oliver Reed and Vanessa Redgrave give the performances of their lives. Mixed · 2The film is based on the true story of mass hysteria in 17th-century Loudun, western France, and was adapted by Russell from Aldous Huxley's The Devils of Loudun and John Whiting's stage play The Devils. Reed plays the priest Urbain Grandier, accused of witchcraft, and Redgrave plays the abbess Sister Jeanne des Anges.

Centre · 1Collider's Samuel R. Murrian says the restoration was made by Warner Clockwork, an arthouse label founded in late 2025 for which this is the first theatrical release. It used elements from Russell's personal copy of the film as well as the original negative. Centre · 1Collider reports that the theatrical run was extended beyond its original one-week window. It also says several previously censored scenes had been considered lost until critic Mark Kermode reportedly found them, mislabelled and decomposing, in a Warner Bros. vault in 2002. Left · 1Bradshaw reads the film as being about the violence of authority rather than sexual imagery, and as a work about fascism and the cynicism of religious and state power. He also praises Derek Jarman's set designs and Peter Maxwell Davies's music.

Centre · 1Murrian calls it a masterpiece and says the restored scenes, including a long-lost orgy set atop a crucifix, are essential to its meaning. The reviewer says they once dismissed the film after seeing a censored bootleg, and compares it with The Exorcist and Bad Lieutenant as a drama about Catholic faith.

Every sentence links to the reporting it rests on. The pill in front of each says where its sources sit: Left, Centre or Right when one side supplies at least half of them, Mixed when they are evenly split. The number is how many outlets it cites.

Left1 outlet

Framing
The Guardian's review treats the film as a classic of provocation and reads it as a critique of state and church power, placing it among European art-house shockers.
Emphasis
Themes of authority, hysteria, fascism and misogyny; performances, design and music.
Leaves out or plays down
Says little about the restoration process, the distributor, or the theatrical run.
Charged language
“scabrous 1971 classic”“frenzied aria of confrontation and hysteria”
For example
“it is the violence of authority that is shown to be obscene” — The Guardian
“Russell's aria of angry pessimism” — The Guardian

Centre1 outlet

Framing
Collider's review is a personal story of changing one's mind, and celebrates the uncut restoration as a major cinema event of 2026.
Emphasis
The restoration work, the restored censored scenes, the film's reappraisal, and its Christian themes.
Leaves out or plays down
Gives little detail on the UK release itself, which is the main focus of the Guardian piece.
Charged language
“Most Visionary Masterpiece”“subversive, shocking masterpiece”
For example
“The Devils is a subversive, shocking masterpiece with ferocious entertainment value and genuine spiritual depth.” — Collider
“I've never changed my mind so drastically about a movie in my entire life.” — Collider

Right0 outlets

No right outlet in our sources has covered this story yet.

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