The Ballad of Tam Lin

Based on an ancient Scottish folk poem, the rather obscure THE BALLAD OF TAM LIN marked actor Roddy McDowall’s only directorial feature and is a ‘love letter’ to his dear friend, Ava Gardner, who took on the female lead as a witchy forty-something whose spell captures fashion photographer Ian McShane before he falls for the virginal charms of a vicar’s daughter… Although billed as ‘folk horror’ upon its initial release in 1972 (the film was actually made in 1969), this hallucinogenic-induced modern take on the old tale is a real slow burn whose supernatural elements only come into full force during the movie’s tense climax.

Anyone familiar with this poem with its setting on the Scottish border, where it also was filmed, knows that the ‘ballad’ has seen many a version over the centuries – most notably perhaps, it was adapted by that most famous of Scots bards, Robert Burns… and with actor Roddy McDowall claiming Scottish ancestry it shouldn’t come as a surprise that he displayed keen interest in coming up with his own version – set at the tail end of the psychedelic 1960s. The story, however, doesn’t start in idyllic and historic Peeblesshire on the Scottish borders but in Swinging London where up and coming photographer Tom Lynne (Ian McShane) frolics about with the extremely wealthy and alluring widow Michaela ‘Micky’ Cazaret (Ava Gardner) – a lady of expensive tastes for whom he has fallen hook, line and sinker (thanks to one of her witchy spells) and thus declares his undying love for her. Micky knows that she’s getting on a bit to put it mildly (Gardner was 47 at the time of filming) yet her wealth enables her to keep a coterie of fashionable young things, all with too much time on their collective hands – as we later discover, in the past Micky enjoyed a string of considerably younger lovers but woe betide those who dare step out of line… One day, the party decides to head north of the border to one of Micky’s retreats – a magnificent ancient building called Carterhaugh (in actuality it is Traquair House outside Peebles).

The opening credits roll across the screen to ‘The Best Part of You’ by folk-jazzers The Pentangle while Micky and Tom roll along various London streets in her Rolls Royce – setting an almost comical contrast against the drab and grey high rise blocks they are passing. We know that the film is going to make use of psychedelic effects the minute Micky puts on yellow-tinted glasses and the grey of the building transforms into, well, yellow. Later on and pretty much throughout the movie, Tom sports the same glasses – illuminating his surroundings in bright yellow though don’t ask this reviewer for any possible symbolic significance. It’s a long journey up north which provides the cue for some scenic interludes, for example when the pair are driving along Newcastle’s Tyne Bridge while the young hipsters follow them in separate cars, among them Joanna Lumley, Sinéad Cusack, Jenny Hanley, Bruce Robinson and Madeline Smith (all in early roles). The following day, the party can be seen sunbathing and amusing themselves inside and outside Micky’s grand house – whiling the time away with tarot card reading, drinking, smoking, and playing Frisbee while Tom is only too happy taking countless pictures and satisfying Micky’s needs and whims – with the action overseen by her dubious ‘private secretary’ Elroy (Richard Wattis). This vacuous routine is interrupted by the arrival of Janet Ainsley (Stephanie Beacham) – a pretty yet innocent young woman dressed in rather mousy colours who happens to be the daughter of the local vicar (Cyril Cusack). Janet has come to sell a puppy to one of the party members, Sue (Maddie Smith), who behaves as if she’s a complete space cadet. Despite her unglamorous appearance, Tom is instantly taken with Janet… and she with him. At first, Micky is welcoming towards her but changes her tune quickly upon realising that Tom is more interested in the vicar’s daughter (he even attends a church service), bestowing her wrath upon him. Ah yes, finally – and after more psychedelic camera wizardry - we get a bit of action when it emerges that Janet is pregnant with Tom’s baby and contemplates an abortion (what would daddy say?) though he proves that he’s quite the decent chap and stands by her.

Suffice to say, Micky won’t have any of this and sends her henchman to kidnap Tom just as he and Janet are about to leave his trailer, parked nearby the famous Firth of Forth Bridge (which looks particularly enticing here with the mist coming in from the sea). Back in Carterhough, an incensed Micky, sporting some weird looking occult mask, forces her scorned lover to drink from a goblet which, unbeknownst to him, contains wine spiked with an extremely strong hallucinogenic. This sets the tone for the brooding climax which, true to the original ballad, sees Tom trying to escape through a dark forest in which (imaginary?) creatures want to get hold of him and kill him – all the while a coven of witches (though curiously not the young people from the party) are also in pursuit of a worthy sacrifice. Can Janet’s love save Tom from a terrible fate?

The film certainly has his moments though overall, its slow pace (especially during the first hour) doesn’t do it any favours. That said, Ava Gardner and Ian McShane are in top form, as is Stephanie Beacham (TAM LIN was her first feature movie role). Much to Roddy McDowell’s chagrin, after a very limited British release the film got shelved due to disagreements between producers Alan Ladd Jr. and Stanley Mann and found a second release (albeit as a re-cut version) only two years later… by which time cinematic tastes had changed and the film’s hippy-dippy atmosphere suddenly felt dated (remember, the Manson murders happened when TAM LIN was made and with it brought the love & peace era to a terrible end). According to various other rumours (hinted in interviews with Madeline Smith and Stephanie Beacham on the Bonus Features) Ava Gardner never appeared on set before lunchtime (yes, she certainly liked her booze!) while cast and crew sat around twiddling their thumbs and thus brought valid time and shooting schedule into disarray. Never mind exercising caution when dealing with a dangerous ‘Queen of the fairies’…even more caution is required when dealing with a true diva! No wonder that poor Roddy felt so frustrated by the whole experience he never directed another film.

Whether you consider the film to be a love story with supernatural undertones or a folk horror which doesn’t quite deliver the chills until its climax, THE BALLAD OF TAM LIN is certainly worth a look, if only for the sake of film history. The generous Bonus Material on this restored Blu-ray release offers audio commentary, archive shorts, interviews (including with Ian McShane and Pentangle’s Jacqui McShee), trailer and illustrated booklet (first pressing only).