The legend of Faust is one of the oldest occult tales in the Western world. This German fable has been the basis of countless plays, poems, novels, musical compositions, works of art and films. Although the Faust legend has been reinterpreted many times in various ways; most renderings describe Faust as an aging unsatisfied scholar who is bored with conventional wisdom and decides to take up magic. He uses his arcane abilities to conjure up a servant of the devil (Mephistopheles or Mephisto) and makes a bargain with him. Faust offers his soul to Mephistopheles in exchange for esoteric knowledge but his “deal with the devil” doesn’t serve him well. In the end Faust is faced with regrets and the prospect of internal damnation.

One of my favorite film adaptations of the Faust legend is Paul Wendkos’ THE MEPHISTO WALTZ (1971). The movie stars Alan Alda as a frustrated music journalist named Myles Clarkson who has given up his dreams of becoming a professional pianist. One afternoon Myles visits the home of world-renowned concert pianist named Duncan Ely (Curt Jurgens) and his daughter Roxanne (Barbara Parkins). The two immediately take an interest in Myles and encourage him to start playing the piano again. Myles obviously enjoys their attention and he rushes home to tell his wife Paula (Jacqueline Bissett) and their daughter (Pamelyn Ferdin) about his sudden good fortune. His wife isn’t very impressed and thinks that Miles should focus his energy on becoming a better writer. Myles disregards Paula’s concerns and becomes entangled in the luxurious lifestyle and the promise of fame that Duncan Ely and his daughter Roxanne offer him. Unfortunately for Miles he’ll soon discover that Duncan and Roxanne are in league with the devil. The lovely and mysterious Roxanne intends to use black magic to takeover Myles’ body and replace his soul with the dying soul of her father, Duncan. In true Faustian fashion, Myles seems more than willing to exchange his soul for Duncan’s even though he isn’t exactly conscious of the decision that’s being forced upon him. His wife Paula isn’t as willing to accept the future that Duncan and Roxanne are offering them and in the end THE MEPHISTO WALTZ becomes more about Paula’s dissatisfaction with her own life and her desire to take control of the horrible situation she’s found herself in.

What fascinates me about THE MEPHISTO WALTZ is the film’s apparent disregard for organized religion. Unlike most horror films that feature protagonists forced to confront some kind of evil or supernatural elements that defy scientific explanation, the characters in THE MEPHISTO WALTZ seem to inhabit a godless world. Kindly priests don’t attempt to save the day and no one is wearing a gold crucifix. There are no lengthy conversations about the nature of good and evil and the characters appear to lust after whatever they want without consideration for anyone but themselves. The film’s groovy ‘70s setting and its casual approach to human desire seem to reflect the hedonistic philosophy of the “Me Decade.”

THE MEPHISTO WALTZ was based on a novel written by Fred Mustard Stewart in 1969. Before Stewart decided to focus his attention on writing he planned on becoming a concert pianist and studied music at the Julliard School in New York. I haven’t read the original novel but I appreciate Stewart’s personal take on the Faust legend. His choice to make his main protagonist a failed pianist was a smart one, but I especially liked the way he portrayed his female characters. I think THE MEPHISTO WALTZ features two of the most interesting female characters to inhabit an American horror film in the early ‘70s. The frustrated wife Paula and the plotting witch Roxanne are both fighting for some kind of control in a man’s world and neither of them seems willing to show the other any compassion. In 1971 Roe vs. Wade hadn’t yet taken effect but feminism was changing the way many women were approaching their careers, families and the prospect of motherhood. While watching THE MEPHISTO WALTZ again recently I was struck by how the vulnerable Paula seemed to represent the pre-feminist woman while the demanding Roxanne could easily represent the modern woman of the future. Without giving too much away I will mention that both characters manage to thwart expectations in this somewhat conventional horror film and Paula’s final act could be viewed as a liberating experience for her as well as the audience. A more pessimistic viewer might have the opposite reaction and find THE MEPHISTO WALTZ to be full of archaic examples of femininity that are easily found in the Bible. In particular Mary Magdalene and the apple eating Eve.

My own appreciation of the female characters in THE MEPHISTO WALTZ is undoubtedly colored by my admiration for the two female leads. I like Jacqueline Bissett and Barbara Parkins a lot and I think THE MEPHISTO WALTZ offered the actresses two of their most interesting roles. Before making the movie Jacqueline Bissett was probably best known for her roles in Bullitt (1968) where she played Steve McQueen’s love interest and the disaster movie Airport (1970). Barbara Parkins had done lots of TV work but her only major film role had been in the wonderfully campy drama Valley of the Dolls (1967). Even though Alan Alda is adequate in THE MEPHISTO WALTZ and Curt Jurgens has a few good scenes as Roxanne’s father, I think the film’s best and most provocative performances are delivered by the female stars.

Besides some good performances THE MEPHISTO WALTZ also features an effective score by the acclaimed composer Jerry Goldsmith as well as creative camerawork from cinematographer William W. Spencer. Director Paul Wendkos mainly worked in television and THE MEPHISTO WALTZ is hampered by its TV-like approach and stilted dialogue that occasionally seems more appropriate for a television drama. But Wendkos seemed to have been inspired by one of my favorite directors, Joseph Losey, while making the film because some of the themes and scenes found in THE MEPHISTO WALTZ contain faint remanents of Losey’s most interesting films such as The Servant (1963) and BOOM! (1968). THE MEPHISTO WALTZ never tries to reach the intellectual heights that Losey attempted to scale but if you are a Losey fan you might have fun trying to spot his influence on the production. The movie has a lot to offer horror fans and design enthusiasts will probably enjoy looking at the modern architecture as well as ‘70s fashions as much as I do. The Clarkson family’s incredible beach house is really an architectural wonder but we only catch a few glimpses of it. These stylish touches manage to add a little international flavor to the made-for-TV atmosphere of this American horror movie. THE MEPHISTO WALTZ also seems very European in the way that it handles the adult relationships. The film doesn’t shy away from showing nudity and Paula and Myles spend a lot of time in their bedroom. It also hints at an incestuous relationship between Duncan Ely and his daughter Roxanne, which is undercut by the fact that they can both inhabit other people’s bodies. This makes it easy to assume that Duncan and Roxanne were lovers long before they ever became father and daughter.

Some of the film’s most memorable moments are the creepy atmospheric dream sequences as well as an unforgettable party scene featuring Barbara Parkins walking a dog that’s wearing a human mask. It’s a deeply unsettling image that probably haunted director John Carpenter’s dreams. When Carpenter was getting ready to make his 1978 film Halloween he used the same mask for the character of Michael Myers. According to various sources the prop department working on Halloween decided to buy the cheapest mask they could find, but it’s supposedly the same Captain Kirk mask that was originally seen in THE MEPHISTO WALTZ 7 years earlier. It’s probably just a strange coincidence but I’d like to think that John Carpenter had seen THE MEPHISTO WALTZ and the image of the mask-wearing dog had managed to lodge itself deep into his subconscious. By chance or circumstance, Halloween and THE MEPHISTO WALTZ will always be linked together by a cheap latex mask. If you’re trying to plan a double feature for October 31st you might want to consider combining John Carpenter’s Halloween with Paul Wendkos’ THE MEPHISTO WALTZ. Both movies are easily attainable and would make for some fright filled Halloween fun.