The Witches

The Witches

1966

Director- Cyril Frankel

Cast- Joan Fontaine, Kay Walsh, Alec McCowen, Ann Bell, Ingrid Boulting  

            Joan Fontaine (in her last screen role) plays Gwen Mayfield. The movie opens with Gwen working in Africa on the receiving end of some terrorism by the local witch doctor. After leaving Africa she gets a job as a school teacher in a local English town. At first she sees oddities, like a failed priest who still carries his collar like a security blanket, and a high school girl that still carries a doll. She begins to notice other things, in particular that the town seems intent on separating two teenage lovebirds (one of them being the doll toting girl).

            Gwen’s previous experience in Africa has made her a little more aware of the occult than the average person and she soon starts finding evidence of a cult conspiracy. As she is about to stumble onto the truth, the cult engages in a rather complicated bit of gaslighting before revealing themselves to her and forcing her into an initiation into the cult.

            Gwen believes that the young lovebirds have been separated because the cult wants to keep her pure for sacrifice. As it turns out, the truth is much worse. “Give me a skin for dancing in.” That’s all I’ll say about that.

            I would not describe the film as feminist, but it’s rather different than most films of this genre. Most of the cast is female and none of them are presented as sex objects. Nor is there any of the gratuitous sexuality usually seen in witch cult films. Both the protagonist and her foil are intelligent, sophisticated women. Is that a result of the original material being written by a woman? Perhaps.

            Those familiar with The Wicker Man may find similarities in the plot, but this movie (and the book it’s based on The Devil’s Own by Norah Loft) was made before The Wicker Man. The Witches is an intelligent Hammer Films movie. It treats the subject matter seriously. It is shocking but never prurient. The direction of the movie is not immediately obvious and the suspense builds throughout. Fans of another Hammer film, The Devil Rides Out will recognize Gwen Ffrangcon Davies.

 One of the questions presented by the film (which like The Ninth Gate never explicitly shows any supernatural activity) is does belief in the supernatural lend it its power? This power of belief expresses itself not only in the effectiveness of placebos but also lends power to the leaders of cults. For a different type of witchcraft film, give it a look. Those looking for an intellectually stimulating film will enjoy it.