The Outcasts

Among the myriad of folk horror aficionados, 'Blood on Satan's Claw’ (1970) and 'The Wicker Man' rank very highly indeed, with the former written by Robert Wynne-Simmons who also wrote and directed the considerably lesser-known THE OUTCASTS – now available on HD Blu-ray.

Scriptwriter Robert Wynne-Simmons was in his early 20's when he wrote ‘Blood on Satan’s Claw’ and clearly had a keen eye for English rural imagery. Many wondered what exactly became of him after this first-rate effort and we see Wynne-Simmons covering similar territory here. Clearly, he is a man who has a thing about timeless landscapes and in particular leafless trees. For THE OUTCASTS, the location has moved to Ireland. It starts with images of leafless trees accompanied by a plaintive Irish folk melody. Already we know where we are (especially if you've seen the earlier film). We witness a young woman being chased across the fields by a young man and two women. The young woman is Maura O’Donnell (Mary Ryan) and she appears to be handicapped due to a permanent limp - is this why they are picking on her? They throw her to the ground, pull her bloomers off and chuck them in the mud. This is early 19th century Ireland and in this little village superstitions still play a powerful factor.

Maura - poor unfortunate creature that she is, soon reckoned to be a witch and things for her are about to get considerably worse. Tormented and taunted on account of her lameness and lightness of head (or so it may initially appear) she can only but dream. Her sister Janey (Bairbre Ni Chaoimh) has been made pregnant by curly mophead Eamon Farrell (Martin O Flathearta) who appears to be a bit of a local lothario (God knows why) and Maura herself even has a shine for him - quite why is not that easy to fathom. Janey is a widow and this aspect is more than frowned upon: “People don't marry widow's dead men sheets”. Never mind, matchmaker Myles Keenan (Cyril Cusack) arrives on horseback and settles the situation between Eamon's father Conor (Tom Jordan) and Janey’s father Hugh (Don Foley).

Throughout we hear references to the dreaded Scarf Michael (a powerful performance by Mick Lally) on count of his rumoured magical powers. At the wedding reception held in Hugh’s cottage, three uninvited musicians arrive dressed like straw men with strange straw cones on their heads. One of them appears to be none other than Scarf Michael himself. After two women, Triona (Gillian Hackett) and Roisin (Hilary Reynolds) dash off into the woods with two of the musicians (with copulation on their minds), they drag the hapless Maura along with them and leave the bewildered girl alone in the wood. It is then that she encounters Scarf Michael. He is, however, not all like what we've been led to believe - but be assured this man is very far from the norm. He is about to awaken something rather special in Maura. Showing her what he is capable of, this is witnessed by Triona and Roisin who are in the middle of sexual acts. One gets covered in leeches and the other finds herself being penetrated by a goat (previously glimpsed by Maura) though although this might sound like porn, it is filmed in a very subtle way. Soon the two women start to gossip about Maura and her consorting with the fantastical Michael. The ensuing witchhunt, which is about to begin, culminates in dire consequences for Maura. However, with Scarf Michael finding a kindred spirit in Maura (whose hitherto unrealised power even he is in awe of) even the dead may come back life…

This is a film you may need to watch again to get the deeper meaning and symbolism, not to mention as to what is actually going on in the more surreal scenes. But you will be amply rewarded by Seamus Corcoran’s splendid cinematography photography and Stephen Cooney’s music. THE OUTCASTS is more folklore than horror and takes its origins from Irish mythology and draws on William Blake’s ‘The Book of Thel’ and the poetry of W. B. Yeats. A pity we did not see more from Wynne-Simmons – this is twelve years after Blood On Satan’s Claw and here he has the director's reins.

Special Features include:
Newly recorded audio commentary / Writing Folk Tales (2024, 9 mins): in this newly filmed interview, Robert Wynne-Simmons revisits his debut feature / The Fugitive (1964, 31 mins): Robert Wynne-Simmons’ first work shot on 8mm film against a backdrop of Mods and Rockers violence on the streets of 1960s Brighton / The Outcasts in Pictures (2024, 15 mins) / The Wanderings of Ulick Joyce (1975, 5 mins): a would-be king is doomed to wander old Ireland forever in this distinctive animated short by Gillian Lacey / Illustrated booklet (first pressing only).