Satan's Slave

Indonesian cult horror that takes inspiration from American works of the late 70s like "Phantasm" or "Salem's Lot". It has a surprising Islamic religious side and quite spooky moments, especially for its time.

This little known cinema rarity from Indonesia offers up a real treat for western horror buffs. Claiming to be an Eastern take on Don Coscarelli's Phantasm, it transposes Christian-based horror themes to the Muslim culture. Although, it lacks a bit of luster when compared to Phantasm, those able to look past that will find a very solid and intriguing blend of zombie horror, haunted house tale, and psychological thriller.

Satan's Slave tells the story of a family who, upon the loss of the mother, alienate themselves from religion. Of course, this leaves an open door for evil to come into their lives. It first comes in the form of the mother's nightly spectral appearances (mostly centering around the two youngsters of the household). When a terrorized servant commits suicide, he too makes a return. Then, a newly appointed housekeeper seems to work black magic and have secret diabolical intentions toward the family. After suspecting witchcraft, the children persuade the father to hire a shaman. However, that makes the haunting even worse and the wrath of the evil woman increases ten fold. With more lives claimed in the name of Satan, the evil forces at work get more and more powerful. It is up to the family to band together and accept God into their lives if they want to survive.

Yes, at the heart, this film is like an Islamic morality tale. But, that does not keep it from being an all-around good horror picture. This unique venture is worth a look by any fan of horror from around the world.

There are film-making and storytelling sensibilities of horror here that one will recognize in like fare from most any country's cinema; that in this case the proceedings are flavored with tinges of Indonesian culture is refreshing, not least as Islam is spotlighted over Christianity. Otherwise, the story bears familiar roots of eerie goings-on following the death of a member of the family, and we can just sit back and take in all that 'Pengabdi Setan' has to offer. There are perhaps points where the presentation is overbearing in some manner, whether it's especial clamor in a sequence or extra forcefulness in the acting; though such instances are obviously intentional, for my tastes they're too overt a choice. Yet otherwise I'm rather pleased with how good this is - it may not be an absolute must-see, but anyone who appreciates the genre will surely find much to like here.

The cast generally gives strong performances fitting for the material; if they are sometimes too heavy-handed, I think that's more a question of Sisworo Gautama Putra's direction. But excepting the few most overly pronounced instances, Putra's orchestration of every shot and scene is also commendably strong in accentuating the growing disquiet that pervades the scenario, and in making every moment matter. With that said, this is certainly a case where the dispensation of the most significant horror elements is more measured and deliberate, parsed out more sparingly as the length advances, and not necessarily doled out very subtly at that - but the incidence is more than enough to inculcate a robust, growing sense of Things Going Wrong in the household. Each such step along the way is realized with excellent stunts, effects, and special makeup, facets that are as admirably well done as in many like-minded titles, and by the time we're in the last third of the length the differences between this and other such titles are decidedly few.

And that's sort of the key here: while I don't think 'Pengabdi Setan' is remarkable in any one way, it's notable as an Indonesian feature that has achieved enough renown to be recognized to a degree that cannot broadly be said of other works of the country's industry. The closest points of comparison in terms of aesthetics and production values may be contemporary genre fare out of Hong Kong or Japan, and that arguably comes across above all in the cinematography, and in the approach toward specific genre elements. And whatever else one may say about where this 1980 film stands, it all looks pretty fantastic! As the course of events escalates the entertainment becomes ever more delicious, and while strictly speaking this may be a smidgen more modest than contemporary pieces out of Europe or the United States, that doesn't truly mark this as any lesser. In fact, for as excellent as the horror happenings come to be as the narrative develops, I rather believe this stands well above many more widely known flicks. All the component parts here, including the ambient soundscapes of the score, increasingly produce a layer of atmosphere over the affair that cements its strengths and overarching value - and when all is said and done, I believe this quite stands shoulder to shoulder among the upper middle (or is that lower upper?) echelons of any horror one may wish to watch.

Given the calculated pacing of all herein, reserving the most substantial aspects and intensity for the back end, I can understand that this won't appeal to all comers. This isn't a movie of major visceral thrills or chills, nor instant gratification. Moreover, as one particular criticism, I will say that this is very heavy-handed about its underlying themes, to an extent that's more than a little gauche. Still, for those who are receptive to all that the genre has to offer, and who have the patience for pictures that play their hand in their own time, I'm happy to say that ultimately there's enduring worth here that even some of the best known horror features can't always claim. It's not wholly perfect, and it's not an exemplar per se, but I sat to watch with mixed expectations and step away very satisfied with how enjoyable 'Pengabdi Setan' turned out to be. If you have the chance to watch, this is an underappreciated classic that deserves more attention.

This film essentially begins with a funeral service being held for a woman who has left a husband and two nearly grown children behind. So, mourning the loss of his mother, "Tommy" (Fachrul Rozy) is advised by a friend to visit a local fortune teller who can help guide him through his grief by preparing him for future events. When he does, however, he is told that he and his family are in grave danger and that the only way to protect them is through the use of black magic. That said, he purchases some books and various other objects of an occult nature to help him in that regard. His sister "Rita" (Siska Widowati), on the other hand, chooses a more hedonistic approach to deal with her grief by going to parties with her boyfriend "Herman" (Simon Cader) instead. Not long afterward, both of them begin seeing apparitions of their mother which, as you might expect, begin to frighten them. Yet rather than address their concerns, their father "Munarto" (W. D. Mochtar) hires a housekeeper named "Darmina" (Ruth Pelupessi) to take care of them--and that's when things really get scary. Now, rather than reveal any more, I will just say that this was an interesting film due in large part to the manner in which the use of Islamic spiritualism was used to combat black magic. I say this because, of the horror films I have seen from the Far East, the remedies are typically of a Buddhist or Christian nature. So, this was rather new to me. On a totally separate note, although the plot and some of the horror scenarios were quite good, the special effects tended to be much too basic to really make them stand out. At least, that is how it seemed to me. Be that as it may, while I don't consider this to be a great horror film by any means, I suppose it was good enough for the time spent, and I have rated it accordingly. Average.

Despite of the makeup that too ordinary for a horror film, the story plot was frightening enough until now. Perhaps if we watch this movie in the recent time, I'm sure it's nothing compare to any modern horror film. But when you watched this movie back in the 80s, inside the theater, it could gave you a nightmare.