The Witchmaker (1969)
AKA The Legend Of Witch Hollow
Directed by William O. Brown
Code Red DVD
THE FILM
When the star of The Mighty Gorga and Hank Kimball, County Agent, go up against a coven of witches led by a man named Luther The Berserk, anyone would forgive you for thinking that this would be a very short film. But, these two gentlemen acquit themselves well in this very atmospheric tale of witchcraft in the swamps. A professor, a reporter and several students take up residence in a shack alongside a really cool swamp (yes, we have some quicksand) to study psychic phenomena. Luther is nearby. He enlists a homely witch to possess the "sensitive" in the group, a comely young lady in a red nightgown. Then, things start to go badly.
This film is all about the Three A's: Atmosphere, Anthony (Eisley) and Alvy (Moore). Long, lingering shots of the swamp and the trees really stand out. But, mileage may vary here depending upon how much you love swamps. (Me? I love 'em.) A lot of the actual film is shot using long, static shots of people talking. But, the director does one thing that I really loved. We'll see people doing something or other (burying a friend, for example) with the dilapidated shack in the background. Then, the next shot will flip 180 degrees and the people will be beautifully set against the endless swamp. It only happens a few times but it's very nicely done.
As far as the other two A's, Mr. Eisley acts the same way in everything I've seen him in. So, if you liked any of those things I've seen him in, he'll get your attention here. Mr. Moore does quite well as the professor. There isn't a trace of Hank Kimball in his performance, although the occasional movement is Hanky. The rest of the cast are fine, reminding me of folks from William Grefe films.
Bad Guys? You get a sack of them. Luther and his coven are sufficiently crazy. All of the witchcraft is very clearly worked out so we always know what's going on. The film strives to make sure that we are never lost. L.Q. Jones, producer, mentions that this was one of the first films dealing with witchcraft. So, I did get the feeling that they wanted everyone to be on the same page. The rituals are explained and performed. Alvy and Tony chat about them. We are always together.
And, although I understand why they did this, I do wish that they'd had a little more faith in the viewers to just Let (Some Of) It Ride. Maybe they couldn't at that time. I don't know. But, if this film had been made in the 70s, weird things would have happened, explanations would have been tossed into the wind and it would have been our job to just hold on tight. The Witchmaker, very politely, strains to never lose us. And, that's where it kind of lost me.
I have a high tolerance for slow-moving movies but this one was a bit of a strain. I mentioned the long takes earlier and doing that is fine. But why? Alvy was on Green Acres when they made this. Richard L. Bare's directing of that show is classic professional direction. (And, look at how crazy Wicked, Wicked was/ is.) A few cutaways would have helped some of the long scenes here immeasurably. I also kept wondering why more things didn't happen. The film seems caught in a strange spot: between the more straightforward and only slightly mad horrors of the early 60s and the wackiness of the 70s.
There's very little blood. And, while there are many topless ladies around, I didn't see a boob. Strangely chaste...Almost more like a film a young witch could use to learn a thing or two about her profession that happens to incorporate a "straight" plot around it. Near the end, there are some nice twists but...I do wish I liked this more. It's one of those films where I kept hoping it would speed up, but not just because it was slowly paced. More because, as it went, I knew the route it was going and I wanted it to go faster. I wanted one or two explanation or set-up scenes to go away. I wanted it to be more streamlined. (Not to mention it again but Green Acres moves very nicely.) And, I don't just mean the explanation of the rituals. All the talking between the "Good Guys" wore me down. When you see the ending, you'll love it and you'll frown at it because it makes so much of the chatter a waste. It should have all been that odd.
AUDIO AND VIDEO
Sounded fine. The 2:35 framing is nicely done. It looks pretty great. There are occasional little specks and marks and at least one jump in the film. But, this ain't Midnight Cowboy. It's going to have some bumps. I felt like I was right there in the swamp. Love it.
EXTRAS
Commentary from L.Q. and the DP. It's a pretty good one. They've got a lot of stories to tell, with my favorite being that interiors were shot in the old Monogram Studios, now KCET. They had dirt floors! There is an on-camera interview with L.Q. (Oddly enough, he doesn't talk about Alvy as much as I'd hoped.) Several Code Red trailers followed.
FINAL THOUGHTS
Atmosphere is fantastic. And, if that can carry you through a movie, this one has it. The overexplanation of the witchcraft I can understand. The excessive chatter covering the scenes between the main characters I can't. As the movie goes it becomes more interesting but, at the same time, it becomes tougher to watch because people won't stop talking. I don't know if I enjoyed this one but it has some images that will stick with me and I like Alvy Moore. Maybe I'll do a Green Acres party tonight?
— Dan Budnik, 09.29.11 |
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