WITCHERY

Finding forms for the essentially formless, the supernatural story, be it film or fiction, oral tale or urban belief, whispers in the language of nightmare -- a language which is universal at the very same time that it can apply to the intimate troubles of an individual's life. This, the cosmic language of nightmare, has throughout the history of horror cinema often chose to spoke in the archetype of the traditionally envisioned 'wicked' Witch -- that satanic spirit from faerie tale and folklore, not the modern Wiccan, whose own desire to control the images of our subconscious and aesthetic symbols are proving quite as irritating as the Born Again Christian's ravings. Evoking mythic fears, the Witch as sexually enticing Maiden, domineering Mother, and deadly Crone (aspects of the 'Triple Goddess') is presented in solid B-movie funeral finery in Witchery, a joyfully sleazy 'trash' flick that manages to use this socially rich symbol in all three of her incarnations -- with results owing more to shock-shlock Italian pseudo-Gothic imagery than intelligence.

Somewhere off the coast of Massachusetts, Leslie (Leslie Cumming) is researching a famous witch 'light' on an island with her boyfriend Gary (David Hasselhoff), a photographer. A forbidden German tome explains that the background history of the island has been full of devilish doings, including witches who were burned at the stake (hey, while we know that Witches were only burnt in Europe, remember: this is only a movie.). A hotel standing now on that same property (The Beyond anyone?) was owned by a movie star who committed suicide by jumping out a window. As Gary attempts to discover the mystical regions in Leslie's pants, a greedy Kennedy-like family arrives on the island, consisting of Rose, the typically bitchy matriarch, incompetent hubby Freddie, young son Tommy, and their pregnant daughter Jane (Linda Blair). Accompanying them is a real estate agent and architect. When the gang is stranded on the island, we're far from surprised. As they slowly but surely deviate from the safety of numbers, suffering from the demonic materialization of their individual character flaws, a very old woman in black weaves a web of debauchery and possession that manages with the help of several Goya-like scenarios in Hell to move the story along.

Not a dramatically conscious or innovative examination of witchcraft, neither is Witchery a seriously intended 'occult' film. In no way can this Italian exploitative cheapie compare in mood or proficiency to such high brow fare as Rosemary's Baby. Neither does it resemble the cheap yet effectively chilling tone of thrillers like Brotherhood of Satan or Hammer's The Witches. No, this pulp story of supernatural rape and possession merges the dubious pleasures of a haunted house and Old Testament morality -- all wrapped around a kernel of internal familial squabbling. While not great storytelling, neither is the result without charm or merit. Indeed, while Witchery was clearly (and, it seems, unashamedly) made for the money, the full-frontal assault mentality of its mean-spirit and several supernatural set-pieces come across as solid, spooky fun . Cheap, crass, yet strangely fascinating -- entertaining despite its worst efforts -- Witchery is the cinematic equivalent of visiting a local community sponsored Haunted House on Halloween -- short on artistry, but so damn fun precisely because its scares are outrageous. So bad it's good, the movie does manages to achieve a chilling degree of atmosphere despite its actor's fumblings, and the exploitative requirement is met by such sadistic scenes as a demon raping Linda Blaire for what feels like forever and a day, bloody lips sewn lips, and a host of unlikeable characters finding violent death through the very device of their sins. Pulp popcorn entertainment, a fun time is had if approached in the right mood.

No flaws are apparent in Media Blaster's treatment of the picture for this cult classic of nudity and nit-wits. The picture is wonderfully clear and without grain or scratches. Colors are as rich as they can be considering the low quality of the film stock and initial budget, adding a sense of otherworldly magic to the interior shots where 'Hell' and the real world collide. A pleasing transfer, this is easiest the best that this independent feature has ever looked. Audio is also an exercise in technical proficiency, showing again the dedication that MB brings to its eclectic catalogue. Mixing is even, equally distributing the soundtrack and sound effects, and dialogue is perfectly coherent (even if the script isn't). Witchery receives perhaps better technological treatment than it deserves, but the clarity obvious in both image and sound makes it easier to accept the film's flaws and devote yourself to the simplistic exploitative joys that this type of movie delivers. Extras lack the sheer artistry and generosity that Media Blaster's other more notable titles offer. Perhaps this is due to a simple lack of media coverage and materials? Either way, what little the disc does offer is enjoyable, mirroring the freak-show come-on of the feature. Included are theatrical trailers for Shadow: Dead Riot, Just before Dawn, Lizard In A Woman's Skin, etc. By way of bonus, a separate "Joe D'Amato Trailer Reel" is also included, featuring spots for Killing Birds, Death Smiled at a Murderer, Stage Fright, Hitcher in the Dark, Witchcraft, Porno Holocaust, Emanuelle and the Last Cannibals, Troll (2), Beyond the Darkness, and Anthrophagus.

Review by William P. Simmons