Roddy McDowall’s only directorial effort, THE BALLAD OF TAM LIN, is one of the most misunderstood films of its time. Based on a ballad by Robert Burns, the story was updated to then contemporary 1970. The original story tells of a medieval knight who is seduced and held captive by a witch before being saved from her power by the love of a maiden. McDowall and screenwriter William Speier transform the witch into a fabulously wealthy older woman (Ava Gardner still looking great at 48) and the knight into a contemporary young man (Ian McShane in an early role) distracted from life by easy pleasures.
He’s happy to be the head boy toy amongst her minions of fashionable young people (which include Joanna Lumley, Madeline Smith, and future director Bruce Robinson) until he meets the local Vicar’s daughter (Stephanie Beacham at her loveliest) and then he’s in a quandry. Ava doesn’t take kindly to competition and plots his demise, just as she has done with several boy toys before him. However, like the others, he’ll be given a slight chance to survive although so far, no one has.
The misunderstanding arises from the fact that AIP (American International Pictures) promoted it as a horror film rather than as a poetic romance even reediting the film and retitiling it THE DEVIL’S WIDOW to try and achieve this effect. As a result, no one was happy, and the film sank without a trace although I managed to catch it on a double bill with the Timothy Dalton version of WUTHERING HEIGHTS. I didn’t understand it at the time but I was able to pick up on the romance angle and it was close to being the loveliest film I had ever seen.
Seeing it now, uncut, in McDowall’s original version is a true delight. Yes the fashions have dated along with some of the dialogue but the music by The Pentangle and Stanley Myers is still evocative and the cinematography reflects McDowall’s expert knowledge of photography. Ava gets a great final leading role and Scotland has never looked lovelier. The drugged out finale has lost some of its punch but as a bittersweet statement on growing old and the power of young love, TAM LIN still has something to say. This Olive Films transfer is absolutely gorgeous.
The Capsule Critic 