Des Teufels Bad (The Devil’s Bath) is an Austrian/German folk horror piece about the historical phenomenon of suicide by proxy—in which a person would commit murder to be put to death, but avoid the eternal damnation of suicide. This desperate crime was usually committed by women (who were unable to escape their oppressive circumstances) against children (who were assumed to enter heaven without sin). The film was written and directed by the established duo, Veronika Franz and Severin Fiala (Goodnight Mommy and The Lodge). The Devil’s Bath is a deeply feminist look into a dark historic phenomenon that grew out of patriarchy and religious tradition. The slow burn writing and realistic style create a horrific picture of what life was like for German women in the 18th and 17th centuries.
The film is excellently written, and from the very beginning, Franz and Fiala demonstrate how the main character, Agnes (Anja Plaschg), does not fit into her new village after marrying Wolf (David Scheid). After a shocking cold open, The Devil’s Bath begins with the new couple’s wedding. Left alone after the festivities, Agnes is excluded by the men and kept from helping the women, who insist she shouldn’t work on her wedding night.. As time goes on, she struggles to adapt to her new surroundings. The village’s communal work does not suit her, and she often falls behind on her tasks. Her new mother-in-law openly criticizes her both to her face and to her husband behind her back. Agnes is further alienated by her unsupportive husband, who fails to understand who she is. On the night of her wedding, he surprises her with a house he bought for them to start their new lives and family in. The purchase, which cost her whole dowry, all the money Wolf had, and required a loan, leaves them financially trapped—without Agnes’ consent.
Agnes’ relationship with religion differs greatly from the staunchly Catholic village. While the villagers follow traditional practices, Agnes has an almost pagan connection with nature. When she is emotionally struggling, she seeks solace in the surrounding forests and streams, collecting pieces of nature to create an altar on the windowsill in their home. Unlike the others, who pray the paternal Lord’s Prayer, Agnes is always depicted praying Hail Marys when she is alone, further cementing her as different and showing her connection to the feminine.
The Devil’s Bath, while not directly showcasing violence or gore, is still horror because it exemplifies the bleakness of reality. One important element connecting the film to reality is its music. Anja Plaschg, the lead actress, composed the soundtrack as Soap&Skin. The music is mostly instrumental and focuses on string instruments as well as nature elements, occasionally including ominous electronic drones. It is a haunting and eerie score that mirrors the malaise of the film.
Overall, the film could be described as atmospheric, opting to paint a slow burn picture of misery. The realism of the film hammers home the despair of the true historic phenomenon of suicide by proxy. This may not appeal to fans of more hack and slash horror, but for those who crave a more psychological fare, The Devil’s Bath should scratch that itch.
