

Horror
The Blood on Satan's Claw
A chill-filled festival of horror!
After a landsman in 18th century England discovers a corpse covered in fur buried in a field, the town becomes infected by "the devil's skin," leading the local children to engage in demonic rituals and criminal behavior.
Trailer
Top Cast

Patrick Wymark
The Judge

Linda Hayden
Angel Blake

Barry Andrews
Ralph Gower

Michele Dotrice
Margaret

Wendy Padbury
Cathy Vespers

Anthony Ainley
Reverend Fallowfield

Charlotte Mitchell
Ellen Vespers

Tamara Ustinov
Rosalind Barton
Directed by
Piers Haggard
Production
Reviews
John Chard
7/1010/18/2019
Tigon's Talons. Out of Tigon Productions comes The Blood On Satan's Claw. Directed by Piers Haggard (who co-writes with Robert Wynne-Simmons) it stars Patrick Wymark, Linda Hayden, Barry Andrews, Michele Dotrice & Wendy Padbury. Story is set in rural 17th century England and sees a village fall under demonic possession after a living one eyed skull is unearthed by the local ploughman. Well it's quite a title the film has got, the sort that conjures up many a blood curdling image. Yet it's some what misleading, but in a good way. There is indeed claws involved, and definitely "Old Nick" is part of the equation, but Haggard's film is more moody and quirky than the title suggests. It has definite links to Tigon's flag bearer, "Witchfinder General", though not nearly as clever or as bri
Wuchak
6/103/27/2020
***Creepy, unsettling, unconventional, realistic and artistic, but also tedious*** In the early 1700s, devil worship rears its sinister head in a village in England. Barry Andrews (who looks like Roger Daltrey) plays the young man who initially acquires evidence of the deviltry while Patrick Wymark plays the investigator and Anthony Ainley the minister. The young females include Tamara Ustinov (Rosalind), Linda Hayden (Angela), Wendy Padbury (Cathy) and Michele Dotrice (Margaret). When you think of 60s-70s British horror you automatically think of Hammer Films, but Tigon’s “The Blood on Satan’s Claw” (1971) doesn’t have that Hammer or Amicus vibe; or even American International. It’s avant-garde, inventive and lifelike with a harrowing pervasive dread. Unfortunately, it’s a
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