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THE WICKER MAN
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(UK – 1973)
Aspect ratio: 1.85:1
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Theatrical soundtrack: Mono
First-time director Robin Hardy and acclaimed writer Anthony Shaffer (twin brother of Peter, and author of FRENZY and SLEUTH [both 1972], the latter based on his stageplay) attempted to revise the scare genre with this cult accepted concerning a deeply religious police sergeant (Edward Woodward, in a note-perfect performance) whose search for an apparently missing schoolgirl on a remote Scottish island exposes a Pagan society rooted in outmoded superstitions and the admire of vengeful gods. To the accompaniment of a haunting fetch by Paul Giovanni, comprising variations on dilapidated songs and folk music, THE WICKER MAN depicts an isolated community at odds with the world at substantial, steeped in conventional beliefs and ruled with untrue benevolence by a patriarchal figure (Christopher Lee, in unusually subtle originate) whom the script suggests is a frightening con man, maintaining the island’s customs not through agreeable convictions, but because the islanders – all of them factual disciples of the cause – simply know no other draw.
The central mystery (Woodward’s search for the missing girl) is genuinely engaging, and the bawdy songs which greet the sergeant’s arrival are soon replaced by an earthy sensuality as the apt extent of the islanders’ understanding in regenerative powers – divorced from ragged notions of ‘morality’ – become apparent. Lee’s assessment of God verges on blasphemy (”He had His chance and… blew it!”), but ultimately, neither Christianity or Paganism emerges with any dignity from the devastating finale. There’s valid magic in every frame of this incredible film, though it’s clearly not for everyone: If you don’t ‘get it’ within the first ten minutes, then the careful amble and deliberate absence of familiar anxiety motifs may seem a tiny long-winded, even tiresome. Everyone else, however, will be enchanted by this novel, one-of-a-kind movie.
The filmmakers themselves have roundly condemned the shorter ‘theatrical version’ (88 minutes) which crept into UK theaters in 1973 as relieve for Nicolas Roeg’s DON’T Study NOW. However, most viewers were first introduced to TWM via the shorter print, simply because it was the only available version for many years, and despite the makers’ protestations to the contrary, it’s tranquil a noteworthy experience.
The filmmakers’ preferred print (100m) underlines the script’s major themes and streamlines the story, and will be a revelation to anyone who’s only ever seen the theatrical print or the 95m version unearthed by the BBC. There are a few bits and pieces in the theatrical version which are irregular to that print, and the BBC edition includes an curious ‘Sun God’ which appears after the closing credits, filling the cover before shooting backwards into darkness. The loss of this brief, iconic fraction from most extant versions is inexplicable.
This is a POWERHOUSE of a movie that will blow your mind!!!
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It is listed as a dread film, when actually it is SO Worthy MORE. If one classify the genre, I would say Mystery.
It begins with an anonymous letter to the Scottish Constable ( Edward Woodward of Equilizer fame) telling of Summer Isle. A local girl is missing and none of the villagers seems to reveal any interest. Flying to the tiny Isle, Woodward arrives impartial before Beltane, the pagan May Day Festivals and the catch the Island completely immersed in the Pagan ways of Auld. Head of the Isle is Lord Summerisle (British alarm narrative Christopher Lee – Dracula for Hammer Films – in his favourite performance), the leader of his pagan island, and it is definite he not only is aware of the villagers beliefs, he encourages them!
Slowly, Woodward comes to gain the girl is being held for Sacrifice on May Day as he races to set aside her.
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Brilliant performance from Britt Eckland (weak Mrs. Peter Sellers and one of the enormous beauties of her time – * though most of the nude shots are not her since she was pregnant at the time) Hammer awe actress Ingrid Pitt and Diane Cilento (the first Mrs. Sean Connery, mother of Jason) contribute to the eerie feel.
The movie portrays pagan beliefs in an unHollywood style, that goes for substance and facts, rather than sensationalism. The scenery is shapely and the music written for the film is haunting.
The film faced many production problems, to being passed through several production companies, a lot of lost footage from the film editor – a devoutly religious man who conception is gross to be filming this and was systematically destroying as noteworthy as he could, and indifferent reediting by Roger Corman, and then nearly dying in unpleasant handly in the theatres. Was not seen for nearly two decades, and the version in existence was Corman’s poorly edited one, missing over 20 minutes of the 101 microscopic novel verson.
I spent years and year trying to track down a copy, and finally for a short time news was obliging. The director found that he had an unique copy aloof in his site. This was released the VHS – first time the 101 version had been seen in nearly two decades!! Shortly after, it was pulled from the shelves. Corman’s version ( a nice companion share so it was made of a lot of out takes) came out for a spell.
So I am tickled to peer this one on DVD and protected for all time.
Warning: some flashes of Eckland and her stand-in nude, and people of a very religious nature will not like the impart. Otherwise, this is one astonishing knock out of a film.
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