The Devil Outside

The Devil Outside is a dark and surreal British drama from 2018, which explores the themes of faith, adolescence, and religious indoctrination. The film stars Mark Stobbart, Harvey Scrimshaw, and Keeley Forsyth in lead roles. The film, which is directed by Andrew Hulme, takes a probing look at the intricate relationship between religion and society, specifically focusing on Christianity in suburban England.

Harvey Scrimshaw, known for his impactful performances in films like The Witch, plays Robert Easton - an introverted and isolated adolescent boy growing up in a strictly religious household. His dominating mother, played by Keeley Forsyth, and distant father, portrayed by Mark Stobbart, have sheltered Robert to an extent where he knows more Bible verses than nursery rhymes; his life is a swirl of church sermons, hymns, and fervent prayers. However, Robert's religious upbringing is not something he has chosen for himself, rather it is a lifestyle forced upon by his austere parents.

One day, Robert discovers the body of a man, ostensibly a victim of suicide, while walking home from school. This unsettling experience acts as a catalyst, sparking Robert to question his rigorous faith and sheltered life, embarking him on a path of self-exploration and rebellion. His inquiry into religion intensifies when he strikes an unlikely friendship with Marcus, played convincingly by Daniel Frogson. Unlike Robert, Marcus takes a more pragmatic view of the world while defying the norms of societal and spiritual conventions.

Beautifully shot, the movie presents multiple stark images and symbols to push the narrative forward. Hulme uses the English suburbs to create a stark contrast between the dreary everyday lives of its inhabitants and the fervent religious propaganda — the close-knit community they live in is reminiscent of the suburban dystopian landscape created in The Stepford Wives. The cinematography, combined with the film’s eerie soundtrack, enhances the unfathomed relationship the characters share with their faith, adding a surreal, almost dream-like, layer to the narrative.

Mark Stobbart effectively portrays the character of a detached and silently suffering father, unable to connect with his son amidst the engulfing shadows of extreme Christian beliefs. Keeley Forsyth is similarly strong on screen, maintaining an authoritative presence as Robert's overbearing mother. However, the heart of the film is the nuanced performance by Harvey Scrimshaw as Robert. The actor perfectly captures the turmoil and the emotional angst brewing inside a boy caught between the tangles of spirituality and reality.

The Devil Outside does not shy away from studying the grey areas of faith and religion, radically bending the conventions of the genre. It does not simply lay the blame on religious figures or the institution of the church. On the contrary, the movie focuses on the overwhelming demands religion sometimes places on its followers, the unshakeable guilt and fear it inspires, and the confusion and conflict a young mind experiences in reconciling these feelings.

What sets The Devil Outside apart is its ground-level exploration of the complex relationship between Christianity and the human psyche. It methodically constructs a narrative around a child's singular exposure to spiritual teachings, the boundaries it creates around one's perspective, and the adverse effects it can have when this artificial world clashes with reality.

The film, with its gripping performances and a tale that's woven with elements of drama, mystery, and existentialism, leaves its viewers with thought-provoking questions. It pushes them to ponder about societal norms, questions where indoctrination begins and ends, and helps chalk out a line between faith and fanaticism.

The Devil Outside is an emotive cinematic experience, steeped in religious discourse, suburban gloom, and adolescent confusion. It is, indeed, a compelling commentary on faith that invites viewers to participate in a dialogue on religion, society, and the unraveled path our beliefs lead us towards. The film is a daring exploration and a cinematic examination of the extreme notions of belief and salvation and is sure to instigate thought and perhaps a few uncomfortable conversations, long after the credits roll.