The Love Witch is a visually stunning film that combines elements of horror, romance, and feminism. It tells the story of Elaine, a beautiful witch who uses love spells to seduce men, only for her relationships to end in tragedy. If you are interested in watching The Love Witch, here are a few tips to enhance your viewing experience. Firstly, it's important to note that The Love Witch is a homage to classic Technicolor films of the 1960s. The film's director, Anna Biller, meticulously recreated the look and feel of movies from that era, so be prepared for vibrant colors, lavish costumes, and stylized sets. Pay close attention to the details in the costumes and sets, as they are an integral part of the film's visual storytelling.
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.
Pay close attention to the details in the costumes and sets, as they are an integral part of the film's visual storytelling. As you watch The Love Witch, keep an eye out for the film's feminist themes. The protagonist, Elaine, challenges traditional gender roles and expectations.
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.
Sign up to BFI Blu-ray & DVD emails
Get updates on new releases and special offers.
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.
She uses her sexuality and witchcraft to reclaim power in a patriarchal society. The film explores ideas of female empowerment and the dark side of love. Another important aspect of The Love Witch is its use of satire. The film skillfully pokes fun at both the horror genre and societal norms. It's not meant to be taken entirely seriously, so don't be afraid to embrace the film's humor and exaggerated performances. To fully appreciate The Love Witch, it can be helpful to have some knowledge of classic cinema. Familiarity with films from the 1960s, such as those by Alfred Hitchcock and Douglas Sirk, can provide a deeper understanding of the film's influences and references. In conclusion, watching The Love Witch is a visually captivating and thought-provoking experience. Pay close attention to the film's stunning visuals, explore its feminist themes, embrace its satire, and consider its connection to classic cinema. Enjoy this unique and mesmerizing film that offers a fresh take on the horror and romance genres..
Reviews for "Recalling the Films That Inspired "The Love Witch": How to Appreciate Its Homages"
- Jane Doe
Rating: 2/5
I found "How to watch the love witch" to be extremely confusing and disjointed. The story was all over the place, and the characters were underdeveloped. The film seemed more interested in its style and visuals than actually telling a coherent story. While the cinematography was impressive, it wasn't enough to save the film for me. The pacing was also incredibly slow, and I found myself losing interest halfway through. Overall, I was disappointed with this movie and wouldn't recommend it.
- John Smith
Rating: 3/5
I had high hopes for "How to watch the love witch" based on the positive reviews I had read. However, I found the film to be pretentious and self-indulgent. The writer and director seemed more interested in showcasing their own artistic vision than actually engaging the audience. The plot was convoluted and hard to follow, and the characters felt shallow and uninteresting. While there were a few visually stunning moments, they were few and far between. Overall, I was left feeling unsatisfied and wouldn't watch it again.
- Sarah Johnson
Rating: 2/5
I didn't enjoy "How to watch the love witch" as much as I had hoped. The film was overly long and felt like it was trying too hard to be artistic. The main character was unlikable and hard to connect with, and the supporting cast was forgettable. The attempts at humor fell flat, and the story lacked any real depth. The film seemed to drag on without any real purpose, and I found myself checking my watch throughout. Overall, I was disappointed with this movie and would recommend giving it a pass.