All considerations of quality aside for the moment, a conscientious reviewer has to give Satan’s School for Girls (1973) some pretty serious plaudits over that incredible title.
But then again, Satan’s School for Girls comes to us from the great age of TV-movies; when they boasted colorful and memorable monikers such as Don’t Be Afraid of the Dark (1973), or A Cold Night’s Death (1973).
As the title makes abundantly clear, this made-for-TV movie was also produced during the rarefied age of 1970s Devil film: the wonderful spell between Brotherhood of Satan (1971) and The Exorcist (1973).
Specifically, this Aaron Spelling TV-movie first aired on September 19, 1973, and later earned a reputation, according to The New York Times, as one of the most “memorable” made-for TV horrors of the disco decade. It was even re-made in the year 2000, with Shanen Doherty in the lead role.
The original Satan’s School for Girls stars fetching scream queen Pamela Franklin (And Soon the Darkness , Legend of Hell House ) as Elizabeth Sayers, a young woman investigating the apparent suicide of her beloved sister Martha.
To that end, Elizabeth masquerades as a new student at Martha’s former school, the exclusive and 300-year old Salem Academy for Women.
Elizabeth enrolls immediately in two classes: Behavioral Psychology with creepy Professor Delacroix (Lloyd Bochner) and an art class with hunky Dr. Clampett (Roy Thinnes). In the latter class, Clampett urges the female students to “hang loose” and remember that everything in life is both “illusion and reality.”
Elizabeth soon befriends several students, including resourceful Roberta Lockhart (Kate Jackson), popular Jody (Cheryl Ladd) and the troubled Debbie (Jamie Smith-Jackson). Debbie, in particular, appears afraid…and has painted a creepy portrait of the dead Martha trapped in what appears to be an old cellar.
Elizabeth locates that ancient cellar in her very dorm, Standish Hall, and learns from Roberta about a creepy local legend; about eight Salem witches who were hanged in a cellar just like that.
After Elizabeth discovers that Debbie has also committed suicide, she investigates the files in the office of the Headmistress. She learns that all the students at the school have been orphaned; just as Elizabeth herself has been orphaned. She also learns that student files on Debbie and Martha are missing…
Then, late at night, when the power goes out, Dr.Clampett evacuates the campus save for Roberta and Elizabeth.
In the dark, quiet loneliness of the cellar, Satan soon makes his play for eight young, impressionable and father-less souls to replace the ones he lost in Salem all those years ago.
“I welcome what man rejects,” he tells his would-be acolytes with open arms
And he’s reserved a spot just for Elizabeth…
Now, I’m not quite old enough (but almost old enough!) to remember Satan’s School for Girls from its original transmission Rather, I first saw it sometime in the early 1980s in weekend syndication. I probably saw it when I was eleven or twelve, and it has stayed with me ever since.
And now, after watching Satan’s School for Girls
again, at least I have a better understanding of why that’s the case.
The movie, released on DVD by an outfit called “Cheezy Movies,” looks like a relic from another lifetime. The TV-movie is simple, straight-forward and even innocent in a weird sort of way by today’s standards. Yet some of the horror moments really do get the blood pumping. This is a major accomplishment, because it’s clear the movie was made for next to nothing. There are no real visual or make-up effects to speak of, and almost the entire film takes place in just four of five interiors.
But Laurence Rosenthal’s steroidal musical score works over-time to build shivers and anxiety, and director David Lowell Rich does an effective job keeping to the basics. Many scenes have been lensed entirely at night, or in the dark, Gothic passages on the campus. Thunder roars on the soundtrack, lightning crackles, and heavy doors creak regularly. The fear expressed here — simply — is of being alone at night, in the darkness, and wondering if something malevolent might be hiding in the impenetrable blackness close-by.
Nothing more complicated than that.
Yet it’s amazing how many modern horror movies forget that it is the simple things that scare us the most. A basement in the dark. A storm at midnight. The intimation of the diabolical. Roy Thinnes in tight polyester pants…
Okay, I try not to do snark, in part because there are so many other places on the Internet where you can so readily find it, but if you’re inclined to laugh or giggle at Satan’s School of Girls, it’s probably easy to do so. I can’t, in good conscience, deny that.
The performances — much like the narrative — are oddly naive and almost child-like But if you’re willing to buy into the movie (and it helps if you have some nostalgia for it), Satan’s School for Girls unnerves in a very efficient, very 1970s fashion. You want to giggle and assure yourself that a cheap TV-movie effort like this couldn’t possibly bother you.
But just try watching it alone in the dark. At night. The cheesiness sort of evaporates and you find yourself in the midst of this very sincere, very straight-forward and eminently creepy tale. Everyone involved really committed to it (just look at that actress screaming for her life in the still near the top of this post!) so what the hell is our excuse for not doing likewise, right?
And, if you dig just a little under the surface of Satan’s School for Girls the movie actually features some interesting ideas. It’s a movie about girls who don’t have fathers, and who try to find a father figure in either Professor Clampett or Professor Delacroix. Clampett urges the girls to “condemn nothing” and “embrace everything” — the 1970s equivalent of “just do what feels good,” and Delacroix treats the students like rats in a maze; hoping to awake them from their “passivity” should they ever encounter real “terror.”
If you’ve seen the film, you know which of these guys is really the Devil in the disguise — either the liberal artist or the paranoid psychologist — but the push-pull between the clashing philosophies at least gives the viewer something to think about between scenes of screaming ingenues.
Satan’s School for Girls is worth a curiosity viewing just for the cheeky title (as well as the bizarre opening sequence in which Martha grows terrified — terrified I tell you! — at the sudden, unexplained appearance of not one, but two strange old men). But more than that, if you let yourself buy into the premise of this 1973 made-for-TV movie, you might just get a good schooling in old-fashioned terror.