There is a recurring theme in literature and folklore of the "good witch spellbound." This concept refers to a witch who, despite being skilled and knowledgeable in practicing magic, finds themselves trapped or bound by various circumstances or forces. These circumstances can range from personal struggles and obligations to external powers that restrict their abilities or freedom. The portrayal of good witches being spellbound often serves as a metaphor for the limitations and challenges that individuals face in their own lives. It highlights the idea that even those who possess incredible powers or talents can still be hindered by their own personal struggles, societal expectations, or external forces beyond their control. This relatable aspect of the spellbound good witch allows readers to connect with the character on a deeper level and see a reflection of their own struggles and obstacles.
And then there’s Harry Potter. While J.K. Rowling is now a Johnny Depp apologist, her books of the boy wizard and his witch friends (published between 1997 to 2007) once served as a sort of anti-fascist rhetoric, particularly as the series builds to their rebellion against Voldemort, whom they eventually defeat. And in 2007, at the tail-end of George W. Bush’s staunch Republican presidency, this message was especially valuable and even offered parallels to the war in Iraq. Rowling’s themes are so valuable that they re-ignited at the start of the Trump administration; plot points from the series seemed to pop up in the president’s anti-woman, anti-immigrant, and anti-LGBTQ agenda that even the biggest Potter fans (hello!) begged them to stop.
Rowling is now a Johnny Depp apologist, her books of the boy wizard and his witch friends published between 1997 to 2007 once served as a sort of anti-fascist rhetoric, particularly as the series builds to their rebellion against Voldemort, whom they eventually defeat. Aleister Crowley sat comfortably in the assortment of figures on the cover of The Beatles Sgt Pepper LP ; musicians increasingly looked to occult imagery and themes for their lyrics and work, from Black Sabbath to Pentangle; horror films and genre TV played with occult themes; and imagery pertaining to many sorts of esoteric belief systems crept into everything from logos to Sainsbury s home-brand cornflakes to Pan Paperbacks.
This relatable aspect of the spellbound good witch allows readers to connect with the character on a deeper level and see a reflection of their own struggles and obstacles. The spellbinding of a good witch can manifest in various ways within different narratives. For instance, a good witch might be compelled to fulfill a certain duty or quest, preventing them from fully utilizing their powers for personal gain.
Witch reports: unearthing two occult films of the hippie era
In time for Halloween, two rediscovered documentaries shed bizarre new light on the rise of witchcraft and occult practices in Britain after the end of the 1960s.
30 October 2019
Legend of the Witches (1970)By the time the counterculture was in full swing in the mid-1960s, esoteric beliefs had become a significant influence on the hippie dream. Perhaps it was the drip-feed of years of devilish country-manor intrigue in the novels of Dennis Wheatley, the mass intake of drugs, the desire for ritual happenings, or simply the search for alternatives to the traditions of the Christian west.
This bubbling interest burst into all forms of art and media. Aleister Crowley sat comfortably in the assortment of figures on the cover of The Beatles’ Sgt Pepper LP ; musicians increasingly looked to occult imagery and themes for their lyrics and work, from Black Sabbath to Pentangle; horror films and genre TV played with occult themes; and imagery pertaining to many sorts of esoteric belief systems crept into everything from logos to Sainsbury’s home-brand cornflakes to Pan Paperbacks.
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By the 1970s, occult influence was everywhere. Wicca and other forms of modern pagan practice had become extremely popular, and the occult gained an unusually domestic, even swingers’ club flavour. It’s unsurprising then to find a number of documentaries from this period attempting to get to the heart of this popular occulture, and even more unsurprising that such documentaries opted to follow the route of exploitation cinema with its penchant for nudity.
While several documentaries of this ilk were made, two of the most detailed and accomplished were Malcolm Leigh’s Legend of the Witches (1970) and Derek Ford’s Secret Rites (1971), which have been released together on Blu-ray and DVD as part of the BFI ’s Flipside series.
Often aligned with the cycle of ‘witchploitation’ films, Legend of the Witches explores its topic in detail while also recreating the typical eerie atmospheres found in the folk horror films of the same period. Its visuals and set pieces are deeply cinematic: the treatment of rural landscapes, outside of the claustrophobic museums and ceremony rooms the film depicts, is vast and sweeping. As a film, it shares more in common with the work of Kenneth Anger or Benjamin Christensen’s silent classic Häxan: Witchcraft through the Ages (1922) than the skin flicks it probably shared screens with in sleazy Soho cinemas.
Secret Rites (1971)Secret Rites is an altogether different proposition. It’s even more deliciously of its period, capturing the wide-scale craze for Wicca, in this case in Notting Hill Gate. The film opens in almost Hammer horror-like style, with a satire on how such practices are perceived, before exploring the more domestic but still eerie and evocative ritual practices.
Director Derek Ford is best known for naughtiness such as The Wife Swappers (1970) and Suburban Wives (1972) – the latter of which was supported by Secret Rites in cinemas. As such, Secret Rites is filled with nudity, exploiting the shedding of clothing that was typical at such happenings. Add to this its fuzzy psych soundtrack and you have one of the great time-capsules of the counterculture era. It’s hard not to love a film that follows Holland Park hairdressers shopping for the right ceremonial daggers and sex magick gear.
Both of these films showcase Europe’s king of the witches and founder of Alexandrian Wiccan, Birkenhead-born Alex Sanders, an incredibly influential figure in counterculture material and in the infiltration of such esotericism into wider pop culture.
In Secret Rites, his northern accent makes Sanders seem rather more down to earth than the silent, enigmatic figure he’s seen as in Legend of the Witches and elsewhere. The film gives us access to some of Sanders and his wife (and queen of the witches) Maxine’s most private rituals, including the equivalent of a wedding. And as Ford plays on these rituals’ pulpy qualities, they feel far closer to something out of a Wheatley novel than Sanders – who was critical of how Wheatley depicted such rites – would have liked.
Legend of the Witches (1970)One of the most fascinating aspects of Legend of the Witches is how technology was integrated into its initially rural-based rendering of the occult. Alongside its ritual amid rocky outcrops at night, the film transports us to a modernised occult ritual, where stroboscope altars spin dizzying designs on the walls, like a cross between a Pink Floyd light show and the interrogation methods used in TV ’s The Prisoner.
These act as bizarrely effective replacements for the more archaic paraphernalia of the earlier ceremonies – although, ironically, the analogue technology lauded in the film as cutting edge is now as interestingly dated as the rituals they’re used for.
These documentaries are compelling not simply because they’re so clearly of their time, but because their themes feel unusually current again. According to a recent Pew Research Center study, the uptake in witchcraft among millennials is stark, with 1.5 million Americans now supposedly identifying as either pagan or Wiccan. It’s as if there’s a vast new audience lying in wait for a countercultural resurgence, away from the puritanical dictates of modern digital culture. If so, they could do worse than begin with these schlocky but brilliantly layered documentaries. For, as the saying goes, the devil is in the detail.
They may also be bound by an external force, like a curse or ancient magic, that restricts the use of their abilities or even weakens them. The storylines of spellbound good witches often revolve around their attempts to break free from their limitations and regain their power and freedom. This journey towards liberation can be both physical and emotional, as the characters must confront their own insecurities, fears, and past mistakes in order to move forward. These narratives often send a message of personal growth, resilience, and the triumph of good over adversity. The concept of the spellbound good witch is prevalent across different cultures and genres. From the classic fairy tales of Cinderella and Sleeping Beauty to the more contemporary stories like "The Crucible" or even the popular television series "Charmed," the theme of the good witch being spellbound continues to captivate audiences and offer valuable lessons about the human condition. In conclusion, the spellbound good witch is a fascinating archetype that illustrates the limitations and struggles that individuals face, despite possessing extraordinary powers or talents. It serves as a reminder that everyone has their own battles to fight and demons to overcome, and that true strength lies in persevering through adversity. These narratives provide relatable experiences for readers and viewers while offering inspiration and hope for anyone feeling trapped or bound in their own lives..
Reviews for "Creating Sacred Spaces: How Good Witches Spellbound Honor the Divine"
1. Jennifer - Rating: 2/5
I found "Good Witch Spellbound" to be quite a disappointment. The story felt very predictable, with clichéd characters and an unoriginal plotline. It lacked depth and originality, which made it difficult for me to connect with the story or the characters. Additionally, the pacing was slow, and there were no real surprises or twists in the narrative. Overall, I was quite underwhelmed by "Good Witch Spellbound" and would not recommend it to others.
2. Michael - Rating: 1/5
"Good Witch Spellbound" was a complete letdown. The acting was subpar, and the dialogue felt forced and unnatural. The story was incredibly dull, with no real excitement or intrigue. The special effects were cheesy and lacked sophistication. I felt like I wasted my time watching this movie. I would advise others to avoid "Good Witch Spellbound" if they are looking for a captivating and well-executed film.
3. Sarah - Rating: 2/5
I had high hopes for "Good Witch Spellbound," but sadly, it fell flat for me. The characters lacked depth and development, making it difficult to become emotionally invested in their stories. The plot was predictable, and the magic elements felt forced and unconvincing. The pacing was sluggish, and the movie failed to deliver any significant surprises or moments of real excitement. While it had potential, "Good Witch Spellbound" failed to live up to my expectations.