From a young age, we become accustomed to viewing films centered around witches and witchcraft as frightening stories imbued with terror, specifically crafted by directors and writers to engage our imaginations and challenge our inner fears. These films often serve as vessels that stimulate our desire to understand and confront what scares us most. However, when delving deeper into the rich tapestry of these themes, we uncover an array of astonishing and unbelievable aspects of human history that often go unnoticed. At the core of many witch-themed films lies the enduring phenomenon of witchcraft, a practice steeped in antiquity that stretches back through the ages, its origins dissolving into the mists of time. What we often perceive as mere fantasy or fiction in these narratives is, in fact, rooted in a historical tradition that has evolved and adapted, reflecting centuries of cultural, social, and religious beliefs that have shaped our understanding of the mystical and the mysterious.
The Character of the Witch
A witch is often depicted as a woman who devotes herself to the mystical and magical arts, typically possessing arcane powers and a keen interest in wielding her influence through the practices of black magic. Yet, it’s essential to understand that the term ‘witch’ doesn’t invariably carry a negative connotation. In the context of pagan traditions, the label ‘witch’ merely identified individuals who had the ability to use potions, herbs, and crystals, alongside a wealth of esoteric knowledge. Such individuals were regarded not just for their magical prowess but for their connection to nature and the ancient wisdom embedded in its elements, demonstrating skills in creating remedies, casting spells, and exploring the mysteries of the universe through a deep understanding of the mystical sciences. They were often seen as wise advisers and healers, utilizing their talents for the benefit of their communities, embodying a bridge between the physical and spiritual worlds.
One of the most commonly held beliefs about witches is that they collaborate with the devil to disseminate malevolence among humankind. This notion, along with the associated beliefs, has been utilized throughout history as a means to find and persecute scapegoats, particularly those who are mentally unstable, marginalized by society, suffering illnesses in their advanced age, or those who possess unconventional or unattractive appearances. These scapegoats, often vulnerable and powerless, become targets for blame and persecution, their individuality overshadowed by irrational fears and superstitions. Despite their differences, these individuals are unfairly grouped together under the label of witchcraft, facing accusations and punishments based not on their actions but on the pervasive societal anxieties of their time. The witch hunts, driven by such doctrines, serve as dark reminders of how these misconceptions about witches have been historically manipulated to justify acts of discrimination and violence against the innocent.
For centuries, the church has engaged in the practice of witch hunts, targeting and pursuing individuals whom they deem fragile or those whose beliefs and lifestyles do not align with their religious ideologies. These individuals were accused of consorting or conspiring with the devil, Satan, facing persecution based on these allegations. This pattern of behavior demonstrates the church’s historical tendency to cast suspicion and direct hostility towards those perceived as threats to their religious doctrines, often resulting in severe consequences for the accused. Similarly, in contemporary times, Islamic fundamentalists persist in executing terrorist attacks on individuals they label as “Western sinners,” driven by a belief that such acts are justified by their interpretation of ideology. These fundamentalists view the lifestyles and values of the West as sinful or morally corrupt, prompting them to resort to violence as a means of enacting their version of divine justice. Both situations illustrate a recurring theme throughout history and into the present day: the use of ideology to justify acts of aggression and persecution against those considered as outsiders or opponents.
The Witches’ Sabbath
In ancient societies, particularly during the Middle Ages, individuals known as witches were often perceived as a significant menace. These women were seen as threats not only to the safety and well-being of the local populace but also to the prosperity and abundance of the agricultural lands upon which communities heavily depended. In those times, witchcraft was synonymous with peril, symbolizing a formidable danger that needed to be addressed. The centerpiece of this fear revolved around the event known as the witch sabbath. These gatherings, typically conducted deep within the recesses of dense forests, served as pagan celebrations dedicated to the veneration of malevolent forces, often referred to as the evil one. During these clandestine assemblies, it was believed that witches engaged in various rituals that enabled them to acquire mystical powers of a sinister nature. Such powers were considered perilous, posing a potential threat not just to individuals but to the entire community. Consequently, the presence and activities of witches during these festivals were matters of grave concern, fostering distrust and fear among the local inhabitants. Through the enactment of these sabbaths, witches were thought to gain extraordinary abilities that held the potential to cause harm to anyone who crossed their path.
Traces of these ceremonies have their roots in the era of Ancient Egypt and extend across thousands of years. Throughout history, regardless of the era or continent, the practice of black magic appears to remain widespread globally. This pervasive influence is deeply embedded in a variety of cultural narratives. For instance, classical Greek and Roman literature abounds with stories portraying witches as grotesque hybrid creatures that are part human, part beast. This archetype of the witch is likewise evident in the mythologies and religious texts of Mesopotamia, where these figures surface in local lore, as well as in ancient Judaism and the Bible, where similar entities find mention. Despite the passage of time, these legends continue to intrigue, underscoring the enduring fascination and fear surrounding the concept of witchcraft and its perceived supernatural powers.
In Italy, stories and legends concerning witchcraft are richly woven into the cultural fabric of the Aeolian Islands, a group of volcanic isles nestled off the scenic coast of Sicily. These enchanting islands have long been a backdrop for whispered tales and fears surrounding the supernatural. Beginning in the year 1200, a turning point emerged when the patriarch, drawing upon over a century of investigations by self-proclaimed theologians into demonology, decisively initiated the notorious witch hunts through an official decree. This marked the beginning of a dark era characterized by heightened paranoia and religious fervor against alleged practitioners of the occult. By the year 1275, this escalating fear reached a grim milestone with the first recorded execution by burning at the stake of a woman accused of engaging in black magic. This tragic event unfolded in the city of Toulouse, setting a grim precedent for the severe persecution of those suspected of witchcraft in the years that followed.
The Persecution of Witches
Throughout the centuries, an enormous number of women, numbering in the hundreds of thousands, faced horrific deaths by being burned at the stake across Europe. This brutal period reached its zenith during the 1400s, fueled heavily by the influential text known as the Malleus Maleficarum. Authored by a German friar and sanctioned by the Catholic Church, this manuscript became the quintessential tool for promoting the idea of witchcraft. It served as a powerful piece of propaganda, capable of swaying even those who previously rejected the notion of witches’ existence. By disseminating fear and suspicion, the Malleus Maleficarum played a pivotal role in the widespread persecution and extermination of countless women under accusations of witchery.
In the infamous text known as the Malleus Maleficarum, one can find highly detailed and exceptionally practical guidelines designed explicitly for identifying and apprehending individuals accused of witchcraft—a practice meticulously followed by inquisitors for many generations. These guidelines delve into comprehensive methods that were steadfastly observed by inquisitors who had been tasked with this formidable responsibility for hundreds of years. Central to their strategy was the use of torture, a brutal instrument wielded to forcefully extract admissions and confessions concerning the alleged engagement in sinister acts of black magic, primarily targeting women. These women, often innocent, were relentlessly pursued and interrogated under the grim suspicion of participating in malevolent sorcery. In the eyes of the general populace, who were heavily influenced by pervasive propaganda, witches were not only feared but regarded as a legitimate and insidious sect, threatening the fabric of society. This widespread belief was fueled by societal fears and ignorance, showcasing the powerful effect of misinformation and the historical persecution faced by those branded as witches.
One of the principal centers of European witchcraft was situated in Italy, specifically in Benevento, a place reputed to host satanic gatherings under the auspices of a grand walnut tree. These gatherings, commonly referred to as satanic sabbaths, were held with great regularity, occurring three times each week. However, the activities in Benevento were not limited to mere rituals performed in the secluded forest; they represented a more complex and organized sect of witches. The witches were structured with meticulous regulations and a distinct hierarchy, mirroring the ecclesiastical frameworks of Rome but dedicated to antithetical aims and motivations. This clandestine organization defied established norms, offering an inverted mirror of religious devotion. The grizzly climax of these dark times in Italy was marked by the final execution of a witch by burning at the stake, which occurred as late as 1828.
In Bulgakov’s literary masterpiece, “The Master and Margarita,” there is a particular ointment with the extraordinary ability to grant witches the power of flight. This mystical salve enables them to journey through the night sky, guiding them to the secret location where the grand Sabbath is destined to unfold. At this clandestine gathering, witches and other supernatural beings have the esteemed honor of participating in a bizarre ritual that includes kissing the very anus of Satan himself. This ritualistic act signifies their profound allegiance and is often followed by a series of hedonistic and frenzied festivities. These include wild and unrestrained sexual orgies, energetic and hypnotic dances, and the chilling and tragic offering of human sacrifices, often sadly involving the lives of innocent children. Such events capture the eerie atmosphere and dark themes that Bulgakov weaves into his narrative, reflecting the depths of supernatural lore and the extremes of gothic traditions.
Rational Explanations of Witchcraft
The essay by a Dutch physician, “De praestigiis daemonum,” published in 1563, stands out for being the first to propose a hypothesis linking witchcraft to mental illnesses of a hallucinatory nature. In this groundbreaking work, the author suggested that the accused witches, often women, might actually be suffering from severe mental illnesses or deep-seated frustrations. These women, misunderstood and stigmatized by society, were the usual targets of allegations of witchcraft. Despite this pioneering perspective, numerous priests and theologians in the subsequent centuries continued to author new essays and treatises that reinforced the prevailing belief in witchcraft. These writings contributed to the perpetuation of the dominant narrative concerning witchcraft, effectively overshadowing the insightful connections that could have shifted public understanding toward a more compassionate view of these afflicted individuals. As such, the initial insights offered by the 1563 essay remained largely unheeded as society clung to age-old fears and misconceptions.
Numerous prominent characteristics of witchcraft bear a resemblance to aspects found in modern spiritual movements like Wicca. These practices often do not possess the specific terminology associated with established major religions, and instead, they are directed towards universal spiritual entities, embodying traits commonly found in pagan traditions. Across the globe, New Age movements have gained widespread popularity, and today, they are embraced by millions of adherents. These spiritual currents emphasize personal growth and self-exploration, often through rituals and a connection with nature, mirroring the appeal of historical pagan beliefs. The emphasis on personal spirituality and the eschewing of hierarchical structures resonate with those seeking more personalized spiritual paths. This contemporary movement appeals to diverse individuals, unified by the pursuit of deeper spiritual understanding and connection. As these movements continue to spread, they influence not only individual lives but also the broader cultural perceptions of spirituality and religious expression, welcoming an era that celebrates diverse paths to spiritual enlightenment.
The most recent and astonishing instance of witch hunts can be seen in the persecution endured by the Indian spiritual leader Osho during the 1980s. Osho faced harassment due to the New Age commune he established in the arid lands of Oregon, within the United States. This spiritual community drew ire from Christian fundamentalists who labeled him the leader of a satanic sect. Despite a lack of definite charges, he was arrested and faced legal challenges that echoed old prejudices. This resulted in him leading a life marked by exile, where he traversed the globe in search of refuge. The ordeal took him across numerous nations, each successively denying him sanctuary, compelling him to navigate through a world that seemed to turn its back on him universally.
Does the witch hunt continue to persist in contemporary times? It is possible that it has merely transformed its designation, and that the modern-day witches and shamans bear no resemblance to those of the satanic sabbaths of old. Nevertheless, the technique of scapegoating appears to remain a prominent strategy utilized by those wielding significant power, whether in the political or spiritual realms. These authorities consistently direct their condemning fingers, aided by mass media, towards specific groups that they intend to vilify and metaphorically ‘burn at the stake.’ Through sensationalized stories and the amplification of fear, they craft narratives that demand public outrage and persecution, whether justifiable or not. This modern incarnation of the witch hunt reflects timeless mechanisms of control and social manipulation, illustrating humanity’s continuous struggle with power and fear throughout history.
Witch Movies
Selected from the most important and fundamental movies to watch for every film lover, a series of films about witches or that revolve around the theme of witchcraft not to be missed!
Haxan (1922)
Filmed in the year 1922, this remarkable work was crafted under the direction of Benjamin Christiansen. The evocative themes presented include the desecration of tombs, brutal scenes of torture, nuns gripped by possession, and the eerie gatherings of witches known as sabbaths. “Haxan, Witchcraft Through the Ages” stands as an extraordinary and singular piece of cinema that has carved out a legendary status over the decades. It ingeniously blurs the lines between a factual documentary and a piece of dramatic fiction, offering viewers a profound exploration of a scientific hypothesis. This hypothesis suggests that the perceived witches in the Middle Ages might have been suffering from the same psychological disorders that are diagnosed among the mentally ill in contemporary times. Through its distinctive narrative approach, the film delves deeply into historical interpretations and delivers a thought-provoking discourse on how the fears and misunderstandings of the past mirror the complexities faced in modern mental health diagnoses.
A masterpiece in the annals of cinematic history, this film commences as an insightful essay film, evolving seamlessly into a groundbreaking work of fiction that predicts the genre of gothic horror in cinema. It eventually metamorphoses into a poignant documentary that starkly depicts the stark reality of the events it portrays. The film boasts remarkable visual artistry, with an exceptional cast that breathes life into its narrative. It delves into the themes of witchcraft with a refined sensitivity and a compelling intent of social critique and denunciation. Quite honestly, despite my appreciation for the sophistication of contemporary cinema, it is indeed a rarity today to encounter a work with the unique allure of “Haxan.”
I Married a Witch (1942)
A comedy curious and noir-tinged, which had been largely forgotten in obscurity despite the presence of stars Fredric March and Veronica Lake. Amusingly, the synopsis doesn’t sound like a comedy in any way: the film revolves around a witch and her father who are taught to wield dark magic, only to be revived in the 1940s, where they molest the man’s descendant. in charge of their deaths.
As in the later Bell, Book & Candle, the farcical use of magic is used for laughs but at the same time strangely menacing: it is used first to push a boy into extramarital affairs and then to motivate citizens’ scams in an election. No matter, you are watching today to see 1940s hottie Veronica Lake at the peak of her powers, who is very attractive in her signature hairdo. Regardless of the decidedly ridiculous plot, it’s hard to resist Lake’s extraordinary charm.
The Undead (1957)
A woman is put into a psychic trance and sent back in time directly into the body of one of her medieval ancestors, who is doomed to die as a witch. She runs away from a real witch named Livia (Allison Hayes), who works with the devil. There is also another witch, a rogue who helps Livia, and one of the psychics who travels back in time with her. Produced and directed by Roger Corman, this is an unusual and funny B movie that is a mix of horror: violence, reincarnation, time travel, comedy, and fun.
There are funny scenes with the witch and the leprechaun turning into animals, especially a pair of grotesque-looking bats. Even the undertaker is amusing with his witty rhymes and arguments, such as when he calls the graveyard his “meat farm.” The devil is great, with his constant laughter and a huge pitchfork. On Saturdays, he summons a trio of dead girls to go up to the grave and dance. The film is particularly notable for the appearance of actress Hayes in her very skintight dress.
Hayes was a B-movie starlet of the 1950s, mostly due to her appearance in Attack of the 50-Foot Woman. The film was shot in six days on a budget of $70,000, in an old supermarket. It is also notable for featuring a female antagonist and a female lead, with the main male character playing a weak and vulnerable role. The film has a cult following among fans of horror films, drive-ins, and small-budget independent films. If you like this genre, you have to check it out.
Bell, Book & Candle (1958)
It is quite peculiar to think that just a few short months after their intense and conflicting roles in Hitchcock’s masterfully suspenseful “Vertigo,” actors Jimmy Stewart and Kim Novak found themselves collaborating once more in a lighthearted romantic comedy centered around urban witches. This particular film is often considered to be Jimmy Stewart’s final portrayal as a genuine romantic lead, marking a pivotal point in his career as he approached the age of 50. However, the spotlight is firmly held by Kim Novak, whose portrayal of a captivating and enigmatic Bohemian witch takes center stage. Her character is driven by a desire for revenge and she cunningly decides to win Stewart’s affections as part of her intricate plan. The juxtaposition of their previous on-screen animosity with this new, enchanting narrative adds another layer of intrigue to their dynamic pairing.
She clearly finds herself deeply enamored with the considerably older gentleman, leading to a significant internal conflict between holding onto her enchanting witch abilities or succumbing to the allure and enjoyment of romantic entanglement. This narrative unfolds with the pretense of an alluring farce, yet simultaneously embodies a storyline that would struggle to be effectively portrayed as a simple lighthearted comedy in today’s cinematic landscape. Despite this, the film masterfully sets the stage for a genre that would be brilliantly echoed in later beloved television series such as Bewitched and I Dream of Jeannie, illustrating the enduring influence and charm of this particular storytelling style.
Black Sunday (1960)
In 1630 Moldavia, witches Asa Vajda (Barbara Steele) and Javuto are sentenced to death by Asa’s brother and the Inquisition. They are tortured, branded with the letter “S” of Satan, and have an iron mask nailed to their faces. Two hundred years later, they return from the realm of the dead when a group of medical professionals discovers the burial site and accidentally damages the cross and glass panel. One of the medical professionals cuts himself on the glass, and his blood revives the witch. She summons Javuto with the plan of draining the blood of her kinswoman, Princess Katia (also played by Steele), to gain eternal life.
This is a gothic horror created in Italy which is regarded as one of the outstanding works of art of the horror. It makes use of a mix of atmosphere, sound, gore and its environments from gothic movie. Reminiscent of excellent 1930s black and white horror films like Dracula, and the Hammer horror films that inspired it. It is notable for being the directorial launch of Mario Bava and actress Barbara Steele, both of whom are mostly associated with the horror style. Bava would later direct notable films Black Sabbath, The Body and the Whip, Blood and Black Lace, Kill Baby, Kill, A Bay of Blood, Lisa and the Devil.
Steele became recognized for her striking charm, big eyes, and dark hair, appearing in numerous horror films such as Pit and the Pendulum, The Horrible Dr. Hichcock, The Ghost, Castle of Blood, An Angel for Satan, and The Curse of the Crimson Altar. Steele succeeds in her portrayal of conflicting personalities, effortlessly transitioning from innocent princess to wicked witch.
There are many notable scenes, including the opening where the witch is tortured and killed. There are excellent close-up shots of the iron mask and the nails inside it, as it cuts back to shots of the witch as the mask approaches her. Then there’s a scene where they hammer the mask onto her face, and blood oozes out. There are also a series of impressive scenes where the mask is removed, and scorpions emerge from her hollow eyes, followed by a series of scenes showcasing her regeneration.
There’s also a great scene where Javuto emerges from the tomb she’s hidden in, her mask still pinned to her head. The film was loosely based on a Russian short story called “The Viy,” which would later receive a Russian adaptation titled “Viy” (1967) that was faithful to its source material. The external scenes and some interior scenes were filmed by the Scalera Film studios, while the interior scenes were filmed in a castle in the town of Arsoli, Italy. The film enjoyed some success in Italy and also in the United States, receiving very positive reviews and building a strong cult following among horror fans.
The Terror (1963)
Lieutenant Duvalier (Jack Nicholson), a French soldier, loses contact with his unit and is forced to wander alone near the Baltic Sea. While searching for his regiment, he spots Helene (Sandra Knight), a mysterious beauty, walking alone. Spellbound, Duvalier begins following her, but she vanishes. He later catches up with her and follows her to a castle, where he meets the bizarre Baron Von Leppe (Boris Karloff), finds signs of witchcraft, and learns the shocking truth about Helene.
Horror movie by Roger Corman from 1963, featuring Jack Nicholson’s first starring role. Beneath the surface of a genre film lies an interesting exploration of occult themes related to witchcraft, such as the ability to take control of people’s physical bodies through the etheric body and other invisible bodies. The phenomenon of mesmerism is also mentioned, a term derived from the name of its inventor, the German doctor Franz Anton Mesmer, who lived in the eighteenth century.
Kwaidan (1964)
“Kwaidan” is a 1964 Japanese film masterfully directed by Masaki Kobayashi, celebrated for its distinct and awe-inspiring contribution to cinema. The film is an adaptation of four short stories penned by Lafcadio Hearn, a renowned author known for his intriguing Japanese ghost stories. Each segment of this anthology delves into the eerie and supernatural realm, showcasing Kobayashi’s skillful direction and profound understanding of Hearn’s haunting narratives. Through vivid cinematography and haunting sound design, “Kwaidan” stands as a testament to the captivating storytelling traditions of Japan, embracing the mysterious and otherworldly elements that characterize Hearn’s tales. The film not only entertains but also immerses viewers in the rich tapestry of Japanese folklore, offering a visual and emotional journey into the supernatural.
The film consists of four unique episodes, each unfolding in a separate time and location, yet all unified by a central theme: narratives of ghosts and witchcraft. The first episode transports viewers to a haunting medieval village where the spirit of a long-deceased resident returns with an eerie message. The second episode journeys to a mist-shrouded Victorian manor, inhabited by the restless ghost of a forlorn governess. In the third episode, the audience is drawn into the mysterious depths of a dense forest in ancient times, where witches gather under the moonlight for secret ceremonies. The final episode is set in a modern cityscape, where an unexpected encounter with a spectral figure disrupts the routine life of a young artist. Each segment unfolds in a richly poetic and visually captivating manner, immersing viewers in a fantastical and dreamlike realm.
The film garnered widespread acclaim due to its unique and innovative approach to the horror fiction genre. “Kwaidan” has ascended to the status of an icon within Japanese cinema, achieving international renown and securing numerous awards and honors across multiple prestigious film festivals. Esteemed for its artistic excellence, it stands as a remarkable work that captivates both aficionados of auteur filmmaking and those who find a special allure in the mystical world of Japanese ghost stories and folklore. Its distinctive style and narrative depth contribute to its lasting legacy, appealing deeply to audiences who seek a fusion of creative vision and cultural tradition.
The Witches (1966)
Gwen Mayfield, portrayed by Joan Fontaine, embarks on a mission trip to Africa, driven by her dedication to spirituality and education. During her stay, she unexpectedly witnesses a deeply unsettling event involving local voodoo practitioners, an experience that profoundly disrupts her mental and emotional balance, leading to a severe nervous breakdown. In search of solace and recovery, she chooses to return to the familiarity and tranquility of England. There, she embraces a new role as a teacher in a quaint and quiet small town, seeking to rebuild her life and mend her spirit after the trauma she endured in Africa. This position not only offers her a chance to heal but also presents an opportunity to reconnect with her passion for teaching and to contribute positively to the community around her.
He starts noticing a series of peculiar events unfolding throughout the town. There’s a woman walking around with a severely injured hand, accompanied constantly by her pet cat. Simultaneously, a baby falls into a mysterious coma, and a voodoo doll pierced with pins mysteriously appears. Additionally, tragedy strikes when a boy and his mother die after a chilling interaction with one of the elderly women in town, and the baby’s father meets a bizarre fate, drowning and later being trampled by a herd of sheep. The situation escalates when he witnesses a voodoo mask, originally from Africa, which causes him to regress. These strange occurrences set him on a path of discovery, eventually revealing the presence of a coven of witches with sinister intentions. Their plans revolve around incorporating a virgin into their dark rituals, weaving together the unexplained events that had been haunting the town.
The Conqueror Worm (1968)
In 1645, England finds itself entrenched in a tumultuous civil war, a period characterized by pervasive social and political upheavals that ripple through the fabric of society. Amidst this chaos, local towns are plunged into strife and uncertainty. As the established social order crumbles, opportunistic men emerge, eager to capitalize on the prevailing turmoil. These individuals, driven by ambition and the desire for control, manipulate the pervasive superstitions surrounding witchcraft to their advantage. By playing on the fears and gullibility of the populace, they manage to consolidate power, further exacerbating the already volatile social landscape. This exploitation of witchcraft fears not only disrupts communities but also deepens the divides, sowing suspicion and mistrust among the townsfolk, as traditional structures are continually tested by the relentless tide of war and change.
Among these individuals, there is one notorious figure known as the witch hunter Matthew Hopkins, portrayed by Vincent Price. Hopkins travels through the small villages scattered across the countryside, exploiting the confessions of supposed witches for his own dastardly purposes. His exploitation knows no bounds as he manipulates his authority to seek illicit gains, engaging in coercive sexual acts and amassing wealth through deception. In a particularly heinous act, Hopkins persecutes a pastor, subjecting him to abuse before ultimately having him hanged. Devastated by this brutal injustice, the pastor’s niece finds herself entwined with a young man, her suitor, who is driven by a vow of vengeance. He passionately pledges that he will not rest until he hunts down Matthew Hopkins and avenges the cruel fate that befell the pastor, by taking the witch hunter’s life.
Price recounted that every actor on the set faced significant challenges due to the director, Michael Reeves, who struggled to effectively communicate with them. This communication barrier created a tense and complex environment during production. The title of the film underwent a change for its release in the American market, becoming The Conqueror Worm. This alteration was strategically made to align with Price’s other projects related to Edgar Allen Poe, thereby capitalizing on the popularity of these works. Ultimately, the film’s release in America was met with moderate commercial success, grossing approximately $1,500,000.
Rosemary’s Baby (1968)
Rosemary’s Baby, while undeniably a classic in the horror genre, might not immediately come to mind when compiling a series of films centered around witches. However, isn’t that precisely what Minnie Castevet embodies? She is a character with a deeply corrupted spirit devoted to her sinister master, masquerading as the benign neighbor next door. Few films have been as effective in dismantling the 1950s notion of simple, neighborly concern, as Rosemary’s Baby has done, nor have many films managed to make the idealized past—when people felt so secure they didn’t bother locking their doors—appear so utterly naive and absurd. This film challenges those nostalgic notions, revealing the underlying danger that resides within presumed safety.
This is entirely due to Gordon, whose innate harmlessness, delicate physicality, bold gestures, and constant vocalizing disguise the icy calmness that briefly reveals itself when Rosemary gazes into his unwavering expression through the peephole. Gordon embodies the role by emphasizing his frail form while fulfilling the crucial role of draining Mia Farrow of her resilience and determination to fight back. Indeed, among all the witches mentioned, she stands as one of the most pivotal in her malevolence. Through a masterfully understated performance, Gordon manages to encapsulate the dichotomy of appearing gentle and non-threatening while possessing a chilling sense of control, highlighting the sinister undertones lurking beneath the surface. His portrayal ensures that his character is not merely an accessory but a central figure in undermining Rosemary’s confidence and autonomy, orchestrating her transformation with subtlety and precision. In this disturbing tale, she emerges as a significant force of evil, using her deceptive nature effectively to capture and warp the environment around her, making her one of the most significant witches in terms of her insidious impact.
The Wicker Man (1973)
“The Wicker Man” is a classic 1973 British film that was skillfully directed by Robin Hardy and penned by the talented writer Anthony Shaffer. This movie stands out as an exemplary representation of a cult film and has achieved a revered status among film enthusiasts over the decades. Esteemed for its intriguing and unsettling narrative, it has garnered recognition as one of the finest psychological horror films ever crafted in cinematic history. The film’s unique approach to horror, combined with its thought-provoking themes and eerie atmosphere, has made it a quintessential piece within the genre. Its legacy continues to influence many filmmakers and captivate audiences, solidifying its place as a masterpiece in the annals of psychological horror.
Synopsis: The central character in the film is Police Sergeant Neil Howie, portrayed by the talented Edward Woodward. He is dispatched to the secluded Scottish isle of Summerisle to delve into the mysterious case of a missing young girl, Rowan Morrison. As Sergeant Howie sets foot on the island, he encounters an eccentric and insular society, which operates under the charismatic yet enigmatic leadership of Lord Summerisle, depicted by the illustrious Christopher Lee. Within this peculiar setting, Howie must navigate the community’s unusual customs and beliefs, unraveling the mystery that intertwines their seemingly archaic traditions with the vanishing of young Rowan. As he digs deeper, the island’s strange lifestyle and rituals unveil a challenge both professionally and personally, leading to unexpected revelations and a confrontation with the island’s way of life that tests his own convictions and beliefs.
As Howie delves deeper into his ongoing investigations, he stumbles upon an increasing array of peculiarities and has numerous unsettling encounters with the island’s inhabitants. Each individual he meets appears to be deeply and secretly entangled in the workings of a clandestine pagan cult. With every step he takes, the atmosphere grows increasingly sinister. As Howie edges closer to uncovering the truth, he begins to suspect that the missing girl’s vanishing is intricately linked to a malevolent ritual of darkness. This ritual seems to center around the ominous figure of a colossal wicker man, hinting at a horrifying culmination of hidden intentions and ancient practices.
Suspiria (1977)
From the mesmerizing opening sequence of the film, viewers are immediately captivated as they follow Suzy Banyon (portrayed by Jessica Harper) on a taxi ride through a haunting, fairy tale-like forest reminiscent of those in Grimm’s tales. This scene is accentuated by the eerie and intricate music composed by the Goblins, which perfectly complements Luciano Tovoli’s stunning and surreal cinematography. Together, he and director Dario Argento utilized the vivid hues of Technicolor along with cutting-edge lighting techniques to create the film’s unique visual aesthetic. The colors—red, yellow, green, and blue—play a pivotal role throughout the movie, serving as both a vibrant visual backdrop and an embodiment of the supernatural themes at play, often becoming “the monster” themselves. This clever use of color is a nod to Disney’s influence, yet it’s leveraged here to evoke a sense of otherworldly menace. Importantly, when Suzy ultimately confronts her nemesis, the malevolent witch Helena Markos, the encounter is shrouded in mystery, with Markos remaining strangely elusive and spectral. This crucial meeting is infused with the same unnerving energy that permeates the film, leaving a lasting impression of the unseen and unknowable in the minds of the audience.
Halloween (1979)
An independent film produced on an astonishingly low budget managed to gross over $200 million, becoming a significant cultural phenomenon in 1979. This marked the definitive launch of the slasher genre while cementing the status and genius of director John Carpenter. With his innovative approach, Carpenter crafted a chilling experience, establishing a classic using minimal resources, devoid of stars, blood, or even special effects, yet achieving a profound sense of dread. This film became a target for numerous producers eager to capitalize on its success by creating countless sequels. However, none of these sequels would see Carpenter return to the director’s chair, despite his remarkable talent for instilling fear without relying on traditional horror elements. This production stands as one of the rare truly independent films to achieve worldwide fame, akin to what The Blair Witch Project would accomplish years later in the horror genre.
Eve’s Bayou (1997)
In the cinematic landscape of the late 1990s, characterized by a charming array of slice-of-life movies and comedies, Lemmon made a remarkable directorial debut that turned heads and set a high bar for storytelling. This tour de force boasted exceptional performances from the likes of Jurnee Smollett, Debbi Morgan, Samuel L. Jackson, and Lynn Whitfield, each contributing their unique flair to a narrative teeming with depth and emotion. Amidst the domestic turmoil marked by her father’s blatant infidelity and her older brother’s increasingly evident femininity, the ten-year-old protagonist finds herself embarking on a journey of resilience and self-discovery. In a desperate bid to right the wrongs within her fractured family, she turns to superstition and even voodoo, clinging to the hope of defeating the adversities that shadow her young life. Through its richly layered storytelling, this film offers a profound exploration of family dynamics and the enduring spirit of a child determined to reclaim harmony in her life.
The Blair Witch Project (1999)
The “witch” referenced in the title of The Blair Witch Project is ultimately left up to the audience’s interpretation, embodying whatever form they imagine her to be. This film, which became one of the most remarkable success stories in the realm of 1990s cinema advertising and marketing, was initially promoted in a manner that bordered on deceptive. Upon its release, The Blair Witch Project leveraged the nascent power of the internet to create a campaign of intrigue and suspense. Rumors circulated about the origins of the film and the events within, all presented as if they were genuine occurrences, blurred the line between fact and fiction. Consequently, the movie captivated viewers across the globe, leading them to believe they were experiencing a documentary rather than a widely released horror film. The ambiguity surrounding the identity of “the witch,” and whether it even existed as a literal entity or as a manifestation of fear, further intensified the overriding atmosphere of voyeuristic terror. All that was truly evident was the deeply unsettling nature of the advertisements, which played on the audience’s imagination and skepticism to an exceptionally effective degree.
The Witches Are Back (2014)
What Shaun of the Dead achieved in redefining the cinematic portrayal of zombies and what What We Do in the Shadows executed in bringing a fresh, comedic take to vampires, Witching & Bitching attempted to mirror for the depiction of witches in film, even though it didn’t quite reach the same level of prominence. In comparing the two movies, it’s Edgar Wright’s creation that resonates more authentically and effectively captures the essence of its supernatural theme than Alex de la Iglesia’s Witching & Bitching. This film primarily unfolds as a heist story that unexpectedly veers into the bizarre realm of cannibalistic witches, infused with layers of ridiculous and farcical humor.
Filled with outstanding performances from its talented Spanish cast, this film offers an unexpected mix of humor and horror, delivering scenes rich in blood-curdling gore. The combination of wit and chilling horror keeps audiences both entertained and on edge, challenging typical genre expectations. Although the witches portrayed may not seem entirely serious at first glance, their menacing presence lingers, underlined by their unsettling actions which include the potential for them to bind you to a spit and roast you alive. The movie crafts a unique atmosphere where the comedic elements do not detract from the horrific, ensuring an engaging experience that satisfies fans of both genres.
The Witch (2015)
From the very beginning, The Witch immerses us in an unforgiving and inhospitable territory. We are compelled to reflect, as contemplation is our only option, on the staunch insistence of Puritan patriarch William, portrayed by Ralph Ineson, who resolutely proposes exiling his family from their established area in “New England.” Their carriage consistently faces difficulties as it traverses the barren landscape, drawing closer to the edges of the New World, right at the threshold of an uncharted and dense forest. It is the year 1620, and William declares with unwavering conviction, “We will rule this wilderness.” As viewers, we are thrust into this uncertain journey, pondering the challenges that await in this vast and wild expanse.
Eggers’ “The Witch – A New England Folk Tale” is a terrifying and engrossing film that adeptly captures the mystique and allure of the unknown. It would indeed be a gross understatement to merely suggest that it bears a resemblance to the Salem witch trials, given that these infamous events transpire nearly 70 years after the period depicted in the film. The ominous implications and unpredictable consequences of these historic trials loom menacingly over “The Witch,” casting a haunting shadow throughout the narrative. Eggers expertly crafts tension in every scene, skillfully avoiding conventional special effects or gratuitous gore, and instead, he employs masterful editing to weave a suspenseful atmosphere. This clever technique results in a feverishly intricate web of desire and unease, where elemental instincts like lust, defiance, yearning, and greed simmer just beneath the surface of human experience, subtly influencing actions yet never fully subdued or controlled.
Hagazussa (2017)
“Hagazussa” is a 2017 Austrian arthouse film, written and directed by Lukas Feigelfeld. This film is known for being a striking and visually powerful work that explores themes of witchcraft, isolation, and paranoia.
Synopsis: The film is set in the 15th century in the Austrian Alps. It follows the story of Albrun, a young woman who has lived on the margins of society, outcast from the community due to rumors surrounding her deceased mother, who is also thought to have been a witch. Albrun lives in a secluded cabin and earns her living by gathering herbs in the forest.
As the film progresses, Albrun’s life becomes increasingly dark and disturbing. She suffers from isolation, superstitions, and hallucinatory visions. Furthermore, when she experiences abuse and discrimination from the local population, her psyche is severely affected, leading her to sink deeper and deeper into madness.
“Hagazussa” is a film that emphasizes atmosphere and a feeling of oppression rather than a linear narrative. Directed by Lukas Feigelfeld, it is characterized by long shots and a masterful use of photography, which captures the disturbing beauty of the Alps and helps to create a sense of claustrophobia and growing emotional discomfort.
This arthouse film is appreciated by lovers of experimental cinema and psychological horror, as it offers a dark and enveloping vision of witchcraft and the fears that afflict its main character. It is a work that spares no effort in showing the darkness and cruelty of human nature, and for this reason, it has earned acclaim among critics and moviegoers who seek unusual and intense cinematic experiences.
Suspiria (2018)
During a period marked by terrorist attacks known as the German Autumn, an American dancer named Susie Bannion makes a pivotal move to Berlin with aspirations of joining a well-regarded ballet company renowned for its excellence. Amidst this backdrop of unrest, one of the dedicated pupils, Patricia Hingle, mysteriously vanishes after purportedly aligning with the infamous Baader-Meinhof terrorist group. However, the reality behind her disappearance unfolds as she confides in her psychotherapist, Dr. Josef Klemperer. Patricia claims she uncovered unnerving secrets about the ballet school—that it conceals a coven of witches led by a formidable figure called Helena Markos. In her startling revelations, Patricia asserts that Helena proclaims herself as the embodiment of one of the three ancient and malevolent deities, ominously known as the Three Mothers. Specifically, Helena is believed to represent the formidable and enigmatic Mother of Sighs. This claim casts a shadow over the institution, adding an air of dark mystique to the school’s prestigious reputation as a safe haven for artistic expression amidst the chaos of the times.
An experimental film crafted by a prominent production company and helmed by the talented director Luca Guadagnino, this cinematic creation stands as a remarkable piece that transcends the traditional boundaries and norms of standard cinematic expression seen in contemporary times. From the very first scenes, the film grips the audience with its truly terrifying atmosphere. As the narrative unfolds, viewers are drawn deeper into a mysterious plot that slowly unveils the dark secrets and hidden society of witches lurking behind the façade of a seemingly ordinary dance academy. The intricate storytelling weaves a compelling tension that keeps the audience on edge, revealing layer upon layer of the eerie and enigmatic world that lies beneath.
The conclusion of the film, which some might perceive as over-the-top, is a quintessential example from the annals of cinema history. It exemplifies a shrewd artistic decision that astonishes and fundamentally transforms the narrative style to depict the horror with unflinching transparency. Despite being relatively recent, this film is destined, as time progresses, to be wholeheartedly embraced as one of the essential must-see movies and a venerable masterpiece.
