It was a coincidence that I watched Guardian of the Abyss so hot on the heels of Warlock; my viewing schedule just happened to fall that way. Nonetheless it was a serendipitous, even synchronistic juxtaposition and while their use of occultism is fascinating to ponder individually, studying them in tandem is more instructive still. Both episodes use the language and motifs of the Western Mystery Tradition faithfully—neither reduces its practice or study to mere devil-worship—but there the similarity ends. The relative moral complexity of Cosmo Gallion’s circle in Warlock is entirely lacking in the Order of Choronzon: where Gallion was seeking knowledge and enlightenment; in Guardian of the Abyss, Charles Randolph is motivated entirely by pride and a base lust for power.
Indeed, Charles Randolph is essentially an analogue of Mocata, from Hammer’s 1968 cinematic adaptation of Dennis Wheatley’s novel—The Devil Rides Out; and the narrative of Guardian of the Abyss is reminiscent of that classic film in several respects.These correspondences are only highlighted by the presence of Rosalyn Landor, whose first screen role had been in The Devil Rides Out when she was only ten years old. Fortunately her participation in Guardian of the Abyss was not a mere sop to cinema history and here she is the perfect choice for her aloof and otherworldly character. John Carson is similarly well cast—but as a veteran of Hammer villainy, that is unsurprising: he brings to Charles Randolph all the diabolical menace he exuded playing Squire Hamilton in Plague of the Zombies.
Guardian of the Abyss was scripted by David Fisher, who was responsible for a similarly occult-themed 1978 episode of Doctor Who—The Stones of Blood. Both these stories suggest he was fully conversant with occult mythology and Guardians of the Abyss is full of references that suggest he was aiming for a certain verisimilitude. Aleister Crowley’s attempts to invoke Choronzon are referenced; as are Doctor Dee’s experiments with Edward Kelly—his shewstone and his receipt of the Enochian language. Inevitably there is a glut of more clichéd imagery, including mesmerism, poppets and blood-sacrifice: this is a Hammer production after all! It’s curious to think that audiences in 1980 were expected to be fully conversant with such material—a legacy of the counter-culture’s diffusion into mainstream media.
Certainly the nods to The Devil Rides Out are intentional; there is even a plot device lifted straight from The Wicker Man and it shares that film’s downbeat ending. Indeed, although Guardian of the Abyss may exemplify the “demonisation” of occult traditions in popular media (no pun intended), you cannot say it isn’t appropriately spooky. The Order of Choronzon are a thoroughly sinister bunch and—despite some dodgy prosthetics—the climax is genuinely chilling. Indeed, it is probably far more unnerving than the conclusion of The Devil Rides Out. At the end of the day, that is exactly what you want from an episode of a horror anthology series—even if it means smearing Thelemites in the process. Besides: isn’t the frisson of transgression exactly what draws many people to the Left Hand Path in the first place?
Produced by Hammer Films in association with ITC Entertainment : originally transmitted on 15th November 1980