Author: unkle lancifer
Burn, Witch, Burn!
One of my favorite supernatural horror films is 1962's BURN, WITCH, BURN! (aka NIGHT OF THE EAGLE.) It's been a notoriously difficult film to track down for years but lo and behold it's currently available on Netflix streaming. (Can I just say that Netflix streaming may be the best thing to happen to horror fans since Karo Syrup?) Based on the novel CONJURE WIFE by FRITZ LIEBER and adapted by folks like RICHARD MATHESON and CHARLES BEAUMONT, BURN, WITCH, BURN! possesses the artistry and psychological depth to stand proudly next to the best of the genre. Like so many of the most enduring movies dealing with the occult and the unknown, it can be said to pulse with its own magical power. If putting a movie together is anything like casting a spell, this lone film of interest by director SIDNEY HAYERS measures the ingredients in its witch's brew adeptly and ends up hitting its mark square on the nose.
Norman Taylor (PETER WYNGARDE) lives the life of Riley as a big fish psychology professor in a small college university pond. He's got all the answers to life's mysteries and believes neurosis is caused by a cowardly avoidance of the concrete facts. Faith and superstition are his personal pet peeves; if something can't be proven (or perceived by him) then it simply doesn't exist. Little does he know that the high horse he perches on is crafted from juju charms and that his dutiful wife Tansy (JANET BLAIR) has been messing with mojo to keep envious backstabbers and life's little pitfalls at bay.
According to Tansy, what Norman doesn't know could fill a spell book. His friendly colleagues are sharks itching for the sent of blood to go in for the kill and the only thing that separates him from the chum is her knowledge of the way things really work. His ego in the balance, Norman pulls a Darrin Stephens and insists that Tansy scrap her witchery and convert to his approved logic. Tansy reluctantly agrees but without the wifely back up, Norman goes from stud to dud overnight. A once smitten student accuses him of rape and her enraged boyfriend threatens him with a gun. There's more to worry about than his occupation/identity falling to shambles though, there seems to be an ominous force unleashed and rustling about that won't be satisfied until Norman is fitted for a pine box.
BURN, WITCH, BURN! is often compared to JAQUES TOURNER'S CURSE (or NIGHT) OF THE DEMON (1957) and it's not difficult to see why with its tug of war between the scientific and the magical. Both rack up the chills by exploiting the meat of superstition, the idea that once you're on the universe's shit list your days are numbered. Their visual tones compliment each other as well, both sharing a ravenous appetite for inky, amorphous shadows and a proud debt to all things VAL LEWTON.
BURN, WITCH, BURN! may fall just short of CURSE OF THE DEMON's more majestic feel but in some areas, like special effects, BURN stands superior. The climax of the film, which relies heavily on miniatures and forced perspectives may look quaint to the youngins but all things considered, it's still an impressive, nearly seamless, spectacle today (and if you ask me, it's also saluted heavily in sister-witch movie SUSPIRIA.)
The implication that men are manipulated like marionettes by deceitful, sorceress women may smack some as misogynistic but there may be a bigger truth here to explore. Who could argue the fact that those who appear to glide through life may have someone who toils in the trenches unseen to thank? Removing gender from the equation, BURN, WITCH, BURN! presents, with married couple Tansy and Norman, two distinct personality types, one grounded and analytical and the other connected to the spiritual and unseen. The film may spotlight dark forces at play, but Tansy's magic is protective by nature. She sacrifices her very life for her husband and can't really be associated with the malevolent force that seeks to destroy them. In any case, I think it's possible to read the concept of "woman's intuition" presented here as less to do with the female of the species ability to practice covert magic and more to do with the male's limiting literal mindedness.
I'm especially fond of BURN's cast (although the general style tends toward the melodramatic.) JANET BLAIR as Tansy brings the needed worried agitation and is exceptionally sympathetic, MARGARET JOHNSTON as the not-giving-too-much-away baddie, Flora, does twisted freaky creepy like nobody's business and PETER WYNGARDE is phenomenal.
I love this guy PETER WYNGARDE!
How did I never realize that one year earlier he played Peter frickin' Quint in THE INNOCENTS? He teeters toward overboard but it's sensational seeing such a go-for-broke turn. In addition, his handsome gargoyle mug seems sculpted for this type of film, as it tends to attract and capture every shadow slinking by. Years later he would play a T.V. character, so flamboyant (JASON KING) that he inspired AUSTIN POWERS, but in BURN he's just so photogenic and wildly intense that he ends up delivering something truly memorable. As stuffy as his character is made to appear upon introduction, this ends up being a rare supernatural spook show with a manic male rather than female lead. (Adding further to my fascination with WYNGARDE is the fact that he had a ten year relationship with ALAN BATES and played Ming's right hand man, Klytus in 1980's FLASH GORDON!)
Black and white film adds something unique to the movie viewing experience overall but it adds something super unique to horror films and something super special gonzo incredible unique to the supernatural horror film. How can anyone wonder if witchcraft exists? Black and white film IS witchcraft! You just can't get this effect with color film (unless your name happens to be MARIO BAVA.)
Like THE HAUNTING (if you think I'm referring to the 1999 version, punch yourself in the face for me) and THE INNOCENTS, this is a Rorschach flick that you can catch different fish in every time you visit the pond. With my last viewing I encountered a figure in a lightening flash that never materialized for me before. I don't know what it means or if it's a mistake but to me that's like getting three ravens in a row playing slot machines.
BURN, WITCH, BURN! opens with Norman scrawling, "I do not believe" upon a classroom black board. It closes with him backing up against that same board in horror and smudging out the word "not" leaving only "I do believe." It's a clever, classic moment that illustrates just how far he has traveled without moving an inch, as if belief and skepticism are separated by little more than a light switch. Like everything magical, the revelation isn't forced on you but it's there if you want it. Like Norman, all you have to do is open your eyes.
The Night Child (1975)
THE NIGHT CHILD, 1975's possession/cursed medallion flick, can't fill THE EXORCIST's shoes but hey, at least it's not as boring as AUDREY ROSE. The story is a bit flimsy, Michael Williams' (RICHARD JOHNSON) daughter has been acting super spooky since her mom threw herself out a window while engulfed in flames and it appears that the necklace the girl inherited from the aforementioned deceased has something to do with it. Underage smoking simply can't provide the same horrific highs as levitation and head spinning, but little Emily's onslaught of persecution hallucinations have their own disturbing, albeit quiet strength. The film's concentration on the medallion in question tends to frustrate as a cursed GOYA-looking painting is also involved and is a far more compelling point of interest. Ultimately though, the film does come together nicely enough; it's final Freudian revelations have a butterfly effect which makes all that came before it gel into something more substantial.
THE NIGHT CHILD's story may lack the type of demonic punch horror fans crave but its visuals are stunning and then some. It's so damn gorgeous that you may, like myself, happily forgive the film its wishy-washy ways. Putting aside some severely out of date blue screen falling effects, director MASSIMO DALLAMANO (WHAT HAVE YOU DONE TO SOLANGE?) delivers an autumnal smorgasbord of non-stop eye candy that must be seen to be believed. No image I can share with you can do the film justice because so much of what DALLAMANO delivers here has to do with movement and brilliantly orchestrated timing.
Two visual themes collide to great effect, there's a muddy cavernous feel to much of the film's night scenes and the daytime scenes bring flashing sun blasts and stark seventies flavored rusts and orange hues. It's all very crisp and exquisitely staged and it's all so classy and artsy you kind of forget that you might rather be on the edge of your seat for different reasons. The soundtrack composed by STELVIO CIPRIANI (TENTACLES(!), BAY OF BLOOD) compliments without overpowering.
Another great selling point for the film is its cast. In addition to ZOMBIE and BEYOND THE DOOR's JOHNSON, DEMONS and DEEP RED's pixie pale NICOLETTA ELMI makes a superb supernaturally tormented child and she really knows how to wail and appear haunted. Even more exciting for me is the fact that THE NIGHT CHILD has bragging rights to an early performance by the queen of everything, JOANNA CASSIDY (BLADE RUNNER, GHOSTS OF MARS, SIX FEET UNDER, et al.) Big haired and stunning, CASSIDY is hard to take your eyes off of and I swear she delivers the same sly, sexy expression seen in her infamous Kindertraumatic SMOKEY THE BEAR commercial; who can't appreciate that?
I suppose EXORCIST comparisons really are unfair and unnecessary, obviously something else was intended here from the get go. In the end, THE NIGHT CHILD offers something more akin to a stroll through a graveyard on a brisk, bright day than a peek through a keyhole into hell. If you have a sweet tooth for seventies cinema and particularly seventies Italian cinema, do your peepers a solid and allow them to picnic on this. The plot might leave you hungry for more but on a visual level, you'll be stuffed.
NOTE: I saw the subtitled version all cleaned up and sparkly in widescreen. This trailer is dubbed and obviously damaged beyond belief. Don't think I'm insane, the version I saw really was a visual stunner even though this trailer seems to suggest otherwise…
Kinder-Link :: The Awesome Art of Horror
UNK SEZ: Why not check out THE AWESOME ART OF HORROR, a super fresh blog with a kinder-inspired post HERE?
Thanks for thinking of us Hannah and welcome to the neighborhood!
Kinder-Tweet:: Tentacles
Do you have a twitter account? Do you have a Netflix streaming account? Well, then do I have something for you if you don't happen to have something better to do. On Tuesday, November 16th at exactly 10pm Eastern time (7 Pacific) we ask that you start watching TENTACLES on Netflix! Hopefully a bunch of us horror fans will be watching it at the exact same time and we can tweet our thoughts live! I'm telling you this could be fun. All ya gotta do is send your tweetings with the hashtag #kindertweet and we'll all be in the same spot at the same time!
If you don't want to do it that's alright (sob), me and Aunt John will just sadly tweet back and forth to each other. I'll be O.K. I suppose as long as I get to hear the incredible TENTACLES soundtrack. C'mon, 1977's TENTACLES stars big names like HENRY FONDA, JOHN HUSTON and most importantly SHELLY WINTERS. Plus, don't forget you will also meet an octopus!
So remember TUESDAY at TEN (EST), TENTACLES on Netflix streaming & send post your tweets with #kindertweet! It's the most fun you'll ever have being scared (by an octopus.)
KIndertrauma Funhouse with Special Guest Host THE MIKE of From Midnight, With Love!
Our very special guest this Funhouse is everybody's pal THE MIKE, mastermind of the one of a kind FROM MIDNIGHT, WITH LOVE! His royal MIKEness has provided us with some exceptionally dark and scary images to identify today but worry not gentle ones, for he is on hand to dish out the hints if you should stumble about! Good luck to you all and make sure you show your appreciation for THE MIKE by dropping by his spectacular homestead HERE!
Satan's Unsung
How did I come up with the idea for this post "Satan's Unsung"? It was easy, first I started working on "Seven From The Seventies: Part 2" and then I totally lost my steam after four films. Luckily each movie I had mentioned had Satan in it so I retitled the post and viola! I love it when a plan comes together in such a way that it cuts my work nearly in half while simultaneously exposing the type of non follow-through that has kept me from getting anywhere in life! Hail, Satan!
THE MEPHISTO WALTZ (1971)
ROSEMARY'S BABY opened the door for many a cinematic occult tale and the seldom-mentioned body-switcher movie THE MEPHISTO WALTZ is in my opinion, one of the better ones. Sure, it's a bit overstuffed and convoluted, but there's more than enough swirly seventies strangeness to keep you on your hooves. Fans of NIGHT GALLERY-type distorted images and kooky camera angles take special note.
Truth is, MEPHISTO sports one quick visual, a dog wearing a mask of a human face, which I have always found highly effective. It's nearly as alarming as the costumed indiscretion in THE SHINING, it foresees the banjo-bum/doggie hybrid from INVASION OF THE BODY SNATCHERS and holy Haddonfield, sources say the mask itself is the same WILLIAM SHATNER design that was later used in a flick called HALLOWEEN. A little streamlining would have gone a long way and ALAN ALDA is woefully miscast but that lone bizarre image and the presences of JAQUELINE BISSET (THE DEEP), BARBARA PARKINS (VALLEY OF THE DOLLS) and PAMELYN FERDIN (THE TOOLBOX MURDERS) render most of MEPHISTO's lapses in judgment benign. (No offense, Mr. ALDA, you rule in CRIMES AND MISDEMEANERS!)
THE BROTHERHOOD OF SATAN (1971)
BROTHERHOOD has a shockingly low rating on IMDb which leads me to believe that people are insane. In some ways I think it may be the most consistently creepy (and I mean creepy in every sense of the word) movie that I've ever seen. Perhaps some are put off by its long stretches of inactive silence, but I find those periods only add to the overall tide of weirdness. Avoid the pan and scan version like the plague, this has to be seen in all of its widescreen glory. I also suggest throwing literal mindedness out the window. If you allow this baby to be as surreal as it needs to be, it's a bonanza of visual and audio strangeness. Dolls and statues come to life, fog roams the countryside like a living force and there is a tea party gutted straight out of a demonic version of ALICE IN WONDERLAND.
This PG anomaly involves children being kidnapped by elderly Satanists with the plan of switching bodies for a free extra ride on the Ferris wheel of life. The premise is intrinsically disturbing if not terribly original and for someone who is easily scared by old people like myself, it really inspires the cringes. In fact I'm starting to believe that in a lot of these seventies flicks the fear of Satan really just masks a post sixties exasperation that that the "old ways" can never be fully scraped off our shoes. Call me nutzo, but sans the light doses of psychedelia the overall mise-en-scene here reminds me of an amalgamation of vintage JOHN CARPENTER and as always, the dropping of the JC name stands as my highest praise. If you can stomach some good old-fashioned ambiguity this is a gloriously eccentric quiet storm of freakiness that demands reappraisal.
THE EVIL (1978)
Who doesn't love a haunted house movie? The problem is some reach for subtlety and grab uneventful and long winded instead. THE EVIL seems to know that it doesn't have the mastery required to go the suggestive route so it pulls out all the stops and puts on a real show. This is a haunted house movie where things go down and they go down in your face (utilizing mostly practical effects, thankfully.) It flirts with silliness and plays with many a cliché but you can't accuse it of not delivering. RICHARD CRENNA is a psychologist who along with his wife and a merry band of victims in waiting decide to restore an old house with a troubled past. Slasher tropes are utilized to separate and dispense of the group one by one and folks are pulled around and pushed about by unseen forces as if auditioning for PARANORMAL ACTIVITY 3.
THE EVIL was filmed in a real castle in Montezuma, New Mexico and, per usual, the utilizing of an actual space with authentic history pays off. Frankly the location alone is more than enough to recommend this movie. THE EVIL is more frivolous fun than under the skin unsettling, but it's not completely brain dead either. Unlike many a haunted house flick it comes off as generally interested in the supernatural. An eleventh hour, from left field, appearance of hokey VICTOR BUONO as Satan himself may leave an unnecessary campy taste in some mouths but I refuse to throw stones at something so unexpected and idiosyncratic (not to mention, PHANTASM-y!) THE EVIL has just recently and finally been released on DVD, and if you're fond of the seventies and have a soft spot for haunted house movies then this is a must see that, despite its hoary nature, still throws some original curves.
THE REDEEMER: SON OF SATAN (1978)
THE REDEEMER: SON OF SATAN doesn't have Satan in it, but if the title is to be believed then it does feature his kid (this one also goes by CLASS REUNION MASSACRE.) I'm guessing Satan's son is the little boy who walks out of a lake who takes a bus to a church and then possesses a priest who contacts six people to come to a fake class reunion where he kills them one by one for being sinners while brandishing puppets and wearing a variety of disguises. I'm not sure why Satan is suddenly against sinning or why having a job and a sex life are considered worse sins than torturing and murdering people, but I guess we all have different interpretations of the Bible. I kind of wish somebody had an interpretation that wasn't really mean but what do I know? I eat shellfish. Maybe they're saying something here about how religion can be used to hide the devil's work but that still doesn't explain why the priest has extra thumbs.
I'm not sure if I like this movie as much as I'm fascinated by its baffling morality and penchant for talking out of both sides of its mouth. It's all kind of shoddily done but I'd be fibbing (a sin) if I didn't admit that it gave me some heebie jeebies. The goofy masks, the mocking voice, the mean spiritedness of the kills, all kind of make me want to take a Silkwood shower and thus I find it successful. It's ridiculous and yet the grim, claustrophobic mood kind of works in a weird way. Plus, considering it was released before HALLOWEEN ya gotta give it props for its intuition on the direction horror would be heading. It may be the bottom of the barrel that we're scraping here but slasher fans who relish the twisted in spirit and don't mind a little gritty residue may find this hobbled together oddity a guilty (and perplexing) trash treasure.
