Double, Double Toil and Trouble;
Fire burn and caldron bubble…
While some know of the witch-hunts in the Colonial America times, with the famous trials in Salem, or even all the witch-hunting that took place back in Europe from the 1400s to almost the 1800s. Some were accused because the god-fearing folk that feared “natural science” or didn’t want anything to go against their own religion or beliefs. Or they just wanted someone to blame for any bad luck that had befallen them or for any other countless human weakness. But witches and witchcraft goes back far beyond that era, even centuries before Christ and the birth of Christianity. I guess it just shows that humans have been persecuting each each other for quite some time, either out of sheer ignorance or something as simple as being different, or these “outcasts” were felt to be a threat to the “normal” way of living.
Whether they were older women who knew of the medicinal powers of plants and nature, to the ones casting evil spells and consorting with the Devil, the umbrella of Witches and Witchcraft, both fact and fictional, casts a very big shadow. This month, during the time of Halloween and all things spooky, I thought it would be a great time to celebrate this subject.
Your mission for October, is to find two horror titles that you’ve never seen before, that have some connection to witches or witchcraft. You have until 11:59pm on October 31st to find, watch, and report back here about the films that you have chosen.
Now let’s clarify that subject matter a little closer. If it is a film about women that are thought to be witches, whether or not there is proof one way or another, such as in Witchfinder General (1968), or ones where the stereotypical witch, such as Gretel & Hansel (2020), or one with modern day witches, such as Burn, Witch, Burn (1962), they will count. If they cover any sort of Wiccan and their practices, it will work as well. Granted, they still need to be horror films.
kitleyskrypt.com 
Since we’re October anyway, digging a little deeper seemed appropriate, so here’s three that qualify…
MARK OF THE DEVIL (1970)
Yes, to this date I had not seen Mark of the Devil yet. Frankly, because I thought it would be smut. Or, as Americans perhaps enjoy labelling it, an entertaining piece of Euro-trash? I thought I had seen what I needed to see (in this particularly short-lived subgenre) with Witchfinder General (1968), because at least Vincent Price always brings a certain amount of distinguishable class to any picture, regardless of its shocking nature. But at any rate, now we have Herbert Lom (who somewhat reminded me of a latter-day Orson Welles, if not Oliver Reed) and a very handsome looking young Udo Kier to support this picture. Different league, for sure, but still.
Furthermore, I was under the impression Mark of the Devil was something that had been put together hastily to cash in on Witchfinder General’s sudden success and further exploit the notorious subject matter. While that undeniably does seem to be one of its reasons for existing, I was glad to discover this ’71 German-English co-effort has a little more to offer than just being that.
People who see, endorse and “like” this film for its portrayal of torture and perversion, are missing out on the bigger picture, I think. Tunnel vision or lack of interest in the other topics of concern, maybe? Against all odds, MotD does touch upon moral issues and knows right from wrong. As a counterweight to scenes of torment, we’re made sure to know that this film is also an indictment against the atrocious ways of the Catholic Church in 17th Century Europe. We’re presented an established, organized religion that, in non-too-subtle ways, were only after one thing: to spread and enforce their reign, exploit the weak and poor, to indulge in power and increase their own wealth, by means of domination, oppression and slaughter. Or, well, that’s quite a few things, actually, in a nutshell.
MotD also succeeds in showing the absurdity of sheer mass madness. Delusions of grandeur, crimes against humanity, insanity, injustice. It’s all in there, if you care to look for it. On a technical level, having seen a restored version of the film, it’s not even clumsily made and the cinematography has its merits too. Personally, I do prefer how Stuart Gordon tackled similar subject matter, in a more entertaining way, with The Pit and the Pendulum (1991) or, on the other side of the spectrum, how Ken Russell applied a much more serious and controversial approach of deeper personal concerns in The Devils (1971).
But now at least I can acknowledge some of the reasons why MotD left its historical mark on this type of cinema as well. In my country, the theatrical version was released as “Bloody Witchhunt” (litteral translation). Ain’t that neat?
FROM WITHIN (2008)
A small town predominantly inhabited by a religious community suffers a sudden rash of suicides. But not all is as it appears. The victims start seeing “something” before their demise, as if being followed by an inescapable presence. The god-fearing folks get convinced they’ve fallen victim to a curse and, as usual in these cases, are eager to point the finger at an outskirts family living near the woods. It’s been whispered the mother was a witch, before she died. But small towns have a tendency of keeping secrets. So do families, especially the ones who have a copy of the Grand Grimoire in their private library.
From Within was a solid little surprise, as it turned out a much better film than our bland-looking European DVD cover art may have you expecting. All the elements are in place. It offers some mystery, scares and shocks. It has an overall tense, moody atmosphere, slowly building up. The sparse special & visual effects are kept minimal and handled effectively. As evident by director Phedon Papamichael’s impressive oeuvre (primarily) as a cinematographer, the man masters the craft of filmmaking, and clearly puts everything to his advantage (on a more modestly budgeted film like this).
The story doesn’t over-explain things, thankfully, and the bleak ending strikes the right chord. The screenplay was penned by Brad Keene, who previously wrote Mike Mendez’s The Gravedancers (2006), and it makes logical sense he saw himself landing the gig to write The Grudge 3 (2009). In between those two, I feel From Within got turned into his best film so far. Actress Elizabeth Rice (as high school teenager Lindsay, caught up in the middle) leaves a noticeable impression with her first leading role in a feature film.
If you decide to watch this, skip the trailer: it shows too much, feels too generic and makes the actual film look cheaper.
THE WITCHMAKER (1969)
This utmost obscure and, for its time, quite daring outing of Satanism and witchery boosts a (very) dark and eerie atmosphere. Girls are disappearing and found dead in the Louisiana swamps, hanging upside down from trees, stripped half naked with strange symbols painted on them, and their bodies drained of blood. A team of researchers suspect a coven of witches might be responsible, and takes up residence in a remote cabin to investigate the area. Turns out they are right, of course, as they’ll soon find themselves up against Luther the Berserker. He’s the Master of Sabbath and has his sights set on Anastasia, a member of the team with psychic sensitivities. Since her ancestral bloodline had already been crossed with a true witch, Luther seeks to induct her into his coven.
The portrayal of witches and their rituals is rather crude in this film. Their activities are of the more pagan variety, involve devil-worshipping, raunchy orgies and drinking blood from chalices. Early on already, it’s revealed that the sacrificial murdering of young women grants members of the coven eternal life. There’s a lot of good ideas and concepts at play, which result in a few effectively macabre moments. But all this doesn’t exactly make it a great film, as it also shows its dated goofiness at times. The material is thin and stretched out with scenes of the researchers having speculative discussions (usually while enjoying a cup of coffee). Evil does find its way to the cabin at some point, resulting in a nifty scene that might have you thinking if Sam Raimi ever saw this film before cooking up Within the Woods (and later on The Evil Dead).
While it’s mostly Luther plotting things with his favourite witch mistress down in his cavern headquarters, the other coven members do get summoned eventually. Each scantily clad witch and darkly hooded warlock gets their brief introduction. But alas, as luscious and sinister all this may look and sound, their origin stories are left to our imagination. The Witchmaker appears shoddily made, but it’s not exactly incompetent either. While overall a slow and (too) dark ride with some missed potential along the way – which one can hardly blame it for, given this is a film from 1969 made on an obvious low budget – it does offer what we came for (shapely babes, gruesome horror, eerie rural settings, occult rituals). The short climactic escape-into-the-swamp-woods sequence leads to some final tail-end venom and a worthwhile evil laugh.
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As always, Gert, you go above and beyond. And at least this time, I’ve actually seen 2 out of the 3 titles you watched!
Mark of the Devil is a tough one for me. As much as I love the cast, much like Witchfinder General, the subject matter is rough. Knowing that what we’re seeing actually did happen to a lot of people, and that the church was behind it is just staggering, especially when most tend to just turn their cheek and forget that it ever did happen. But a great cast and well made, with some nasty characters in there, especially Mr. Reggie Nalder! Very unforgetable.
I have From Within, but haven’t watched, but now will move it up on the watch list. I loved Gravedancers, so that’s a plus for me.
A few years back, pre-pandemic, we screened Witchmaker for Turkey Day, and I think it fit perfectly for the occasion. Yes, very low budget, but with a group of like-minded film nuts, it was fun.
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I liked The Gravedancers too, Jon. I recall it being a fun horror flick, as you can expect from Mike Mendez, that doesn’t forget to throw in some scary bits either. Phedon Papamichael’s From Within handles a more serious tone, which in this case worked well for Brad Keene’s written material.
I can certainly understand the appeal of approaching The Witchmaker as a Turkey. It has its moments that fit the bill. Yet also, it does have some creepy scenes that do strike the right macabre notes.
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So, this month’s mission has been … difficult, shall we say. Part of it though, is my own darn fault. As a soldier, I know to always reconnoiter, and to know your adversary. But, I ignored my own training, and for my first movie this month, I went in cold, choosing the movie based solely on its title. A real tactical blunder…
THE WITCH – PART 1: THE SUBVERSION (2018 / SOUTH KOREA)
No witches anywhere to be seen. This turns out to be a sci-fi action movie about GMO kids. It’s actually an entertaining movie (if you are into super hero-y type storylines). But, it was a total washout for this month’s mission. Lesson learned – do your research.
WITCHCRAFT XV: BLOOD ROSE (2016 / USA)
For my next foray, I decided to play it safe. How much trouble could I have with a movie that is part of, if I’m not mistaken, the largest horror franchise (16 so far). Yes, there were witches. There was a confusing plot, really bad acting, and so much torture (to the viewer) in only 81 minutes. It turns out, this is the middle movie of a trilogy, so that explains the plot issues (and I’m being VERY generous here). It also was a warning that I need to avoid Witchcraft 14 and 16 like the plague. Which is how you should treat this movie, as well.
WITCHCRAFT 13: BLOOD OF THE CHOSEN (2008 / USA)
Strangely enough, I decided to try this franchise again, but go back a bit earlier. This time we had two clans of witches doing battle to see whose leader would mate with “The Chosen”, and bear a child who would help them rule the earth. The problem was that the clans each seemed to consist of exactly 4 members only. The movie was at least minimally entertaining, but had a crappy shot-on-camcorder video quality, special effects that weren’t at all special, and even the nudity was not very distracting. I know you have better things to do than watching this.
Still feeling a bit shell-shocked from this mission, so I’ll sign off for this month.
HAPPY HALLOWEEN!
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Wow Bob. I do apologize for causing anyone to watch any of the Witchcraft movies. You have my condolences. But hate to tell you, the Amityville series has the most titles, getting close to 30 of them. Totally serious.
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As I started to seek out titles for my selections, I didn’t realize I already got one that would count! So my mission was half done before I started!
The Manor (2021) – New movie written and directed by Axelle Carolyn starring Barbara Hershey moving to an assisted living home, where there is something dark and mysterious going on there. Decent cast and a good story, though not sure if I’m totally happy with the ending.
Witch Hunt (2021) – In a world where witchcraft is real, but it has been outlawed, punishable by death, there are those that still try to help the ones being persecuted. A little heavy handed on the allegories, but still an effective story. The real horror here is how some people are treated for being different. But we all know we’re living in that age right now.
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To begin with, I wasn’t sure I would be able to get able to get this mission completed since I was having so much going on this month. Considering the quality of the movies, that might have been better.
1. Conjurer (2008)
Synopsis: A Couple who have had a miscarriage move to the country for a change of scenery. They find that the property they are building their new home on has an old cottage that was once lived in by a witch and her ghost seems to resent their intrusion.
Review: This movie is adequate in every way. The plot, story, and concepts are all fine but nothing new that we haven’t seen a hundred times in the past. The acting is also adequate but with the exception of John Schneider are nothing above par. The direction and lighting are also adequate with nothing beyond what is necessary and doing little to enhance the mood or create drama or tension beyond what is shown in the script. So overall, the movie wasn’t a slog and was worth watching if you need to kill 2 hours or so of time but it didn’t stand out much above 100 or so similar films.
2. Witch Hunters (2016)
Synopsis: two self-proclaimed witch hunters from an ancient (?) sect come to clear a small town of witches that are killing children. Meanwhile in a somehow related story a priest must gather the strength to face an evil policeman from his past. (At least I think that’s the plot…I had to fill in some gaps myself)
Review: I honestly cannot remember a worse movie than this that I have ever seen. Just because modern technology makes it possible for anyone to make a movie does not mean anyone should! Witch hunters reminds me of the type of movies made by people in their own backyards on a shoestring budget back in the days of drive-ins, but the better equipment nowadays allows for the faults to be even more glaring. Such as the fact that the movie supposedly starts after a major fight with dead bodies strewn about yet the two witch hunters’ clothes are immaculately clean and wrinkle free with not a crease to be seen.
Clearly the director was not clear on a direction for this movie (is it soft core porn, horror, arthouse, suspense, turkey?) or message (is the lesser of two evils better? Is it a crisis of faith for a priest? Can evil be used to purge good?). But I am probably giving the director (if he could be called that) too much credit. It seems like there is just a bunch of unrelated scenes edited together with no thought as to how they should fit or what they should mean. The acting is mostly laughably bad and the dialogue ridiculous. Many scenes are just shot outside using natural sunlight meaning there is no mood or even feel to them. Just stuff happening (usually with no explanation as to why or what it means). I would suggest avoiding this movie at all costs unless you enjoy movies of the quality that a couple of grade schoolers might make in their back yard. I almost gave up and recorded a failed mission rather than waste time finishing but I decided to jump on the grenade and finish it so I could save anyone else reading this the damage from this dreck.
Hopefully things go better in November!
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Hey Chris –
Sometimes, the movies that are just blah are the worst. I’d rather have something of lesser quality if they at least give me something new, original, or something I haven’t seen before. But kudos to you for jumping on that grenade for us!
But I do appreciate the fact that you struggled on and got through the mission. You are a stronger person for it. Granted, hopefully for this month’s mission, you’ll at least find a couple that are fun Turkeys!
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Good morning and HAPPY HALLOWEEN, troops!!
(These are cut/pasted from my Scare-A-Thon blog posts, so please forgive the lack of brevity.)
THE NOONDAY WITCH (aka Polednice) (2016)
d. Jiri Sádek (Czech Republic) (85 min)
During a blisteringly hot, drought-filled summer, Eliska (Ana Geislerova) and her daughter Anetka (Karolina Lipowska) arrive at the rural village where their husband/father Tomas grew up as a child. The cause of their journey is a sad and muted one, that being Tomas’ demise, perhaps by his own hand, but Eliska hopes to get a fresh start having inherited her late husband’s small farm. She has yet to muster the courage to inform Anetka of his passing, responding to her daughter’s frequent inquiries as to “When will daddy be joining us?” with “Soon.” The villagers are welcoming to the widow of their much-beloved Tomas’, although the mayor’s wife Mrs. Mrazova (Daniela Kolarova) senses that Eliska is in danger from the same spectre that haunted her years ago: that of the fabled noonday witch, wandering the wheat fields, sowing pain and discontent in her wake….
During its festival run, many online reviewers have made comparisons between director Sadek’s feature debut and Jennifer Kent’s The Babadook, since both feature recently widowed mothers attempting to regain their footing with a single child consistently reflecting their loss. While it’s true the two share a common plot set-up, the aesthetics are quite different, with much of Noonday Witch taking place in the stark, sun-drenched countryside (kudos to cinematographer Alexander Surkala) and the emotions living far deeper below the surface.
Indeed, the spiritual cinematic sister that sprung immediately to mind is Philip Ridley’s The Reflecting Skin, with its vast amber landscapes, painterly vistas, and painful, mournful characters quietly struggling through their existence. As in that film, Nature plays a huge role, with the sunlight fiercely beating down on the sweating, slow-moving human below, and every frame of water being given a heightened quality. (There is a gorgeous quiet sequence where Eliska washes her dinner dishes with sand, then proceeds to do the same with her daughter in the bathtub.)
Between the mythology conjured by the mentally ill Mrs. Mrazova, who we later learn strangled her own son trying to protect him from the witch, the advances of a lecherous handyman (Jiri Strebel), and Eliska’s devastating cycles of grief and denial, Sadek and his creative team generate a great deal of tension and dread. Anetka, upon discovering the truth about her father (shown his gravesite by a neighbor), takes to shutting her mother out of her room, unwittingly turning Eliska into a childhood monster trying to beat down the door.
With this much excellence on display, it’s astoundingly disappointing when Sadek and screenwriter Michal Samir blink in the final act, serving up a syrupy, overwrought-with-symbolism happy ending (involving a solar eclipse, no less) that magically heals everything. True, it’s a surprise twist ending, in that all the pieces are in place for a devastating repetition of the events that befell the Mrazovas, and yet that’s not what happens. If Eliska would have somehow chosen to avoid her fate, that would have worked as well. But instead of digging into her emotional reserves and swerving the metaphorical wheel to avoid the oncoming metaphorical truck, it’s as though the truck just vanishes off the highway and all is well. It is, as the poet says, bullshit.
All throughout my viewing, I was eagerly awaiting the opportunity to celebrate and recommend this movie. And now, I just can’t. Instead, I recommend turning it off at the 80-minute mark, writing your own conclusions, enjoying them for a while, then resume watching in order to witness Sadek making quite possibly the least satisfying choice imaginable. Ah, the horror indeed.
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#2
HAGAZUSSA (2017)
d. Lukas Feigelfeld (Austria/Germany) (104 min)
A young girl, Albrun (Celina Peter), and her wizened mother (Claudia Martini) reside in solitude in the mountains, shunned by the world and antagonized by the locals whenever the urge strikes. They eke out this mournful existence, solely reliant on one another, until the mother becomes bedridden, vomiting uncontrollably and exhibiting gruesome boils over her body. After she dies, we flash forward 10 years where we discover Albrun (now played by Aleksandra Cwen) tending to a young female infant. No mention is made of the father, and it’s unclear what the young mother’s feelings are toward her absent lover. She does still fantasize about the physical realm, demonstrated by prolonged moaning episodes of self-pleasure, and everything she does seems to exude sensuality in its purest sense. She remains the object of the villagers’ scorn, some openly hostile while others are more insidious in their antagonism, leading Albrun to a vengeful state that could destroy the lives of all.
This stunning debut from Austrian film student Feigelfeld has been oft-compared to Robert Egger’s The VVitch due to its period setting and female protagonist. The two features, however excellent, are far more different than alike, and it’s no guarantee that those who loved one will automatically fall for the other. Hagazussa is a far more cerebral and oblique affair, concerned more with provoking questions while staunchly avoiding answers, an approach which proves equal parts frustrating and fascinating.
For example, we are clearly meant to ponder who is the father of Albrun’s daughter, wondering where he came from, where he went, what their relationship might have been, etc. We will never learn any of these details; they are never alluded to nor spoken. There might be clues, but they are buried so deep that best guesses are all that can be managed or expected.
Yet, despite this remove, Feigelfeld and his artistic collaborators weave a dark and foreboding tapestry that captivated me from the first frame of Mariel Baquiero’s achingly gorgeous cinematography and the first tones of MMMD’s hauntingly monotonous score. Broken into four chapters, “Shadow,” “Horn,” “Blood,” and “Fire,” we are offered glimpses into Albrun’s existence, empathizing without relating, wishing to understand her plight while ever leery of the truth. Even as I fell under its spell, I found myself muttering aloud, “Oh, this ain’t gonna be for everyone.” Those that found Eggers’ critically acclaimed smash too slow for their blood would do well to steer clear; it’s not a stretch to say that nary a single objectively dramatic moment occurs onscreen. We see preludes and aftermath, hints and shadows, always left wondering, always left wanting.
An atmospheric art-house chiller that defiantly and ruthlessly marches to its own beat, refusing to play down to – or even play ball with – its audience. Some might declare it impenetrable or pretentious, and I wouldn’t attempt to argue anyone out of that stance. I simply know that it worked for me, from Cwen’s breathtaking, nearly wordless turn to the powerful alpine vistas, from the nearly surreal production design (the skull-lined walls of the priest’s office) to the mind-melting finale. I’ll not be forgetting it anytime soon, and I’m already looking forward to the next viewing. Higher praise can’t be given.
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It almost feels like I need to watch Noonday Witch, but then what would be worse is having the same feeling about it and not being able to talk to you without hearing “Uh… I told you”.
I honestly don’t remember if I’ve seen Hagazussa but I need to. On the list.
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Oh, you should watch it, if only as a cautionary tale.
And, of course, so I can say I told you. Misery loves company.
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1. Inferno (1980)
I honestly didn’t know that Suspiria was a part of a trilogy. There are still many Argento films that I have never seen. A few things that I love about Argento’s films is his use of color, music, and sounds. A loud window jerking open all of a sudden will get more of a reaction out of me than a CGI monster jump scare. The music is soft and kind of whimsical in this one, and when a scene gets more intense the music gets more intense too. The special effects are really well done. I would love to check out a making of or behind the scenes. Overall, I really enjoyed Inferno and would definitely add it to our video library.
2. Mother of Tears (2007)
Well, I watched part two, so now I should probably watch the third one too. It wasn’t terrible, but it doesn’t pair well with Suspiria and Inferno. I had to turn my tv to black and white just to get through this movie. It seemed over saturated in contrast and color. I liked the story and the practical effects. My biggest complaints are the CGI effects used, the bad acting, and the decade this movie was made in. If Mother of Tears was filmed in any decade before 1990, it would be great. I just had a hard time believing this was the third act to the The Three Mothers. Also, it didn’t have the same atmosphere as the other two. I missed the bright colors and awesome score/soundtracks that the other two movies had. I probably won’t be adding this one to the collection, but glad I got to check it out.
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Well now, Ashley, you’ve completed the Three Mothers Trilogy, so that has to stand for something. For years, I didn’t like Inferno, because I was constantly comparing it to Suspiria. But over the decade or so, Inferno has really grown on me and now I can see it for just how great it is.
Mother of Tears however…I like parts of it but there are plenty that I don’t like at all. Such a mixed bag, which is a shame. But it really is a must see, as well as all in the trilogy. So kudos to you!
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Movie 1: “Viy”
For being in a setting just a little over a decade after the fall of Stalin, this feature has a great sense of humor. Overall rather captivating with the effects and story. I would definitely watch this again!
Movie 2: “The mother of Tears”
I didn’t like the film it was shot on. I’m pretty sure it was shot on digital. So, we switched the television to black and white and the way that the shots where framed up with the usage of light and shadow were more reminiscent of Argento’s earlier framing and color usage. It looked and felt carefully story-boarded. Almost had a Twilight Zone feel to it. Until the practical effects came into play! What a gory bloodbath! I was little unkind in my feelings toward the CGI, but hey. We live in this future now. It’s cheaper, I get it.
I have not seen the 2nd of this trilogy, so I might be enjoying an out-of-order viewing experience, so we’ll see how I feel about that. I think it was more enjoyable as one of Argento’s newer films go; but I really have to say that the framed up scenes really pulled me into film.
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I could sit here and praise Viy for hours on end. I just love that movie. The simple story is great, but damn if those special effects are impressive as hell.
You need to sit down and watch Inferno. Like right now. Turn off the computer, and go watch it. That’s an order, soldier!
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