NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc.

ADDITION: Vinegar Syndrome Blu-ray (May 2025): Vinegar Syndrome have transferred two sixties British horror films, Devil Doll and Curse of the Voodoo (also known as Voodoo Blood Death, Curse of Simba, Lion Man) - both directed by, fellow Torontonian, Lindsay Shonteff (under the pseudonym Lindsay Craig for Curse of the Voodoo) - to a double bill Blu-ray. They are cited as being "Newly scanned & restored in 4K from their 35mm original camera negatives". Both film are shot in black-and-white, and maximizes their low budget through atmospheric cinematography by Gerald Gibbs (X the Unknown, The Green Man, Whisky Galore!, No Orchids for Miss Blandish.) Devil Doll’s most striking sequence is a dreamlike flashback to Vorelli’s past, employing soft focus and distorted angles to suggest a supernatural or psychological break. The dummy’s design is unsettlingly exaggerated with glassy eyes, and a frozen grin. In a word "creepy". It looks very impressive in the 1080P transfer. Tight with excellent contrast. Curse of the Voodoo may be a step behind visually. The African scenes, filmed in London’s Regent’s Park with stock footage of jungles and animals, are unconvincing. Foliage-heavy sets and dim lighting attempt to mask the artifice, but the illusion often breaks. London interiors - Mike’s apartment, a doctor’s office - are functional but lack personality, with generic furniture and minimal decoration. Gibbs' cinematography leans on high-contrast lighting to create menace, particularly in nightmare sequences where rapid cuts, Dutch angles, and shadowy figures evoke Mike’s terror. There were only a very few instances of damage (see sample below.) Overall the HD presentation of both films is strong with Devil Doll reaching a bit higher level. 

NOTE: We have added 132 more large resolution Blu-ray captures (in lossless PNG format) for DVDBeaver Patrons HERE

On their Blu-ray, Vinegar Syndrome use a DTS-HD Master mono tracks (24-bit) in the original English language. The soundscape of Devil Doll, crafted by composer Martin Slavin (Sherlock Holmes and the Deadly Necklace, Danger on My Side, Murder Can Be Deadly, Pit of Darkness,) is minimalist but effective. A recurring motif of eerie strings and low percussion underscores Hugo’s scenes, amplifying tension. Vorelli’s stage performances feature exaggerated crowd reactions (gasps, applause), which feel slightly artificial but suit the film’s theatrical tone. The score of Curse of the Voodoo relies heavily on repetitive tribal drums and shrill flutes to signal “Africa,” a cliché that reinforces stereotypes. These cues dominate ritual and nightmare scenes, creating tension but lacking nuance. It's a shade rougher than Devil Doll. In London, the soundtrack shifts to understated piano and strings, though these feel generic and forgettable. Sound effects - like lion roars or rustling jungle sounds - are clearly stock recordings, sometimes poorly synced with visuals. Both sound authentically flat and clean in the lossless. Vinegar Syndrome offer optional English (SDH) subtitles on their Region FREE Blu-ray.

The Vinegar Syndrome Blu-ray offers new commentaries. Writers and film critics Kim Newman (author of Anno Dracula) and Barry Forshaw (author of Brit Noir: The Pocket Essential Guide to British Crime Fiction, Film & TV) deliver a lively, informative track on Devil Doll. They discuss the film’s place in the ventriloquist horror subgenre, comparing it to Dead of Night (1945,) Magic (1978) and, not surprisingly - more obscure efforts. They delve into the psychological themes of control and the uncanny, noting how Hugo’s design amplifies the creep factor. The duo also touches on the film’s production context, including its low budget and the casting of William Sylvester, who brings gravitas to Vorelli. They address the restored nude footage, appreciating its inclusion for historical accuracy while noting its exploitative nature by 1960s standards. There is also an older commentary track on Devil Doll by Producer Richard Gordon (who passed away in 2011) and film historian Tom Weaver who provide a more anecdotal perspective. Gordon shares memories of working with Bryant Haliday, director Lindsay Shonteff and the challenges of distributing a B-movie with risqué elements (the nude version). Weaver adds historical context, discussing the film’s release strategy and its reception in the UK and US. The track is less analytical than Newman and Forshaw’s but offers a behind-the-scenes look at the era’s independent filmmaking. Film historians Rod Barnett (The Naschycast) and Adrian Smith tackle Curse of the Voodoo with enthusiasm, acknowledging its flaws while highlighting its historical significance. They discuss the colonial stereotypes in the portrayal of the Simbazi tribe, critiquing the film’s Eurocentric lens while contextualizing it within 1960s British cinema. They also explore Lindsay Shonteff’s career, noting his pseudonym (Lindsay Craig) for this film, possibly due to embarrassment over its quality. The track includes technical insights, like the use of Regent’s Park for African scenes, and praises Haliday’s committed performance. "Time for Tommy’s Tea" is a 20-minute interview with Editor Barrie Vince who reflects on his work on Curse of the Voodoo. He discusses the challenges of editing stock footage into the narrative, admitting the seams are often visible. Vince shares anecdotes about the tight production schedule and budget, revealing how the crew improvised to create the illusion of Africa in London. He also touches on the film’s editing style, noting how rapid cuts in nightmare sequences were meant to disorient viewers, though he feels the execution was rushed. In the 23-minute long "Traditions and Legacies" Kim Newman provides a scholarly take on Curse of the Voodoo, analyzing its blend of jungle adventure and supernatural horror. He traces its influences back to 1930s films like White Zombie, noting how Curse reflects a waning interest in colonial narratives by the mid-1960s. Newman critiques the film’s racial stereotypes, arguing they undermine its potential as a psychological horror piece. He also praises Haliday’s performance, suggesting it elevates the material. Writer and film historian Jonathan Rigby (author of American Gothic: Six Decades of Classic Horror Cinema) offers a deep dive into Devil Doll’s production and themes in the 25-minute video piece "Casting a Spell". He explores the film’s use of the uncanny, comparing Hugo to other horror icons of the era. Rigby discusses Shonteff’s directorial choices, like the dramatic lighting in stage scenes, and Sylvester’s commanding presence as Vorelli. He also addresses the nude version’s history, noting its rarity and the cultural context of 1960s censorship. The Blu-ray includes the alternate “clothed” sequences for Devil Doll as a bonus feature. These scenes, totaling 2 1/2 minutes, replace the striptease and other nude footage present in the Continental version. The restoration team’s note explains that these were included for historical completeness, allowing viewers to see how the film was edited for different markets. The clothed scenes are less sensational but maintain narrative continuity, though they lack the exploitative edge that defined the film’s marketing in some regions.

Devil Doll is a British horror film centered on The Great Vorelli (Bryant Haliday - Tower of Evil, The Projected Man) a hypnotist and ventriloquist whose act features a disturbingly lifelike dummy named Hugo. The story follows American reporter Mark English (William Sylvester - 2001: A Space Odyssey, Gorgo) and his wealthy girlfriend, Marianne Horn (Yvonne Romain - The Curse of the Werewolf, Circus of Horrors, Captain Clegg,) as they attend Vorelli’s show in London. Mark, sensing something sinister, investigates Vorelli’s background, while Vorelli uses his hypnotic powers to manipulate Marianne for her fortune. The film taps into the uncanny, a staple of ventriloquist horror, where the dummy’s apparent sentience evokes dread. Curse of the Voodoo blends jungle adventure and supernatural elements. The story follows Mike Stacey (Bryant Haliday, again), a big-game hunter who kills a sacred lion during a safari in Africa, angering the Simbazi tribe. The tribe’s witch doctor curses Mike, who returns to London plagued by nightmares, paranoia, and visions of being hunted. Both films blur the line between supernatural and psychological horror. In Devil Doll, the ambiguity of Hugo’s sentience (supernatural or a projection of Vorelli’s madness) creates tension. In Curse of the Voodoo, Mike Stacey grapples with paranoia, raising questions about whether the curse is real or psychosomatic. Bryant Haliday’s characters in both films deal with psychological strain, though from opposite perspectives: Vorelli as the manipulator, Stacey as the victim. Both films are low-budget British horror entries from the mid-1960s, reflecting the era’s fascination with psychological and supernatural horror, but they differ significantly in execution, aesthetic, and cultural context. Both film were far better than I was anticipating - I really enjoyed Devil Doll. The Vinegar Syndrome Blu-ray release of Devil Doll and Curse of the Voodoo is kind of a must-have for fans of 1960s British horror. The 4K restorations breathe new life into both films, with Devil Doll particularly benefiting from the enhanced visuals and restored footage. I found them memorable B-movies. The commentary tracks are engaging, with Newman and Forshaw’s standing out for its depth, while the interview, Rigby and Newman video pieces provide valuable perspectives. An absolute Blu-ray keeper for me. Recommended!

Gary Tooze