A soft witch bonnet is a whimsical and playful accessory that adds a touch of enchantment to any outfit. Made from comfortable and lightweight materials, this bonnet is designed to perfectly fit on the head, providing a snug and cozy feel. It can be easily adjusted and secured with ribbons or ties to ensure a secure fit. The soft witch bonnet typically features a pointy shape, resembling the classic hat associated with witches. However, unlike traditional witch hats that are often rigid and uncomfortable, the soft witch bonnet is designed for comfort and ease of wear. It is crafted using soft fabrics such as velvet, satin, or felt, which give it a plush and luxurious feel.
“I adore this film – one of my favourites on
the ‘video nasty’ list. It’s an incredibly sophisticated piece of filmmaking
that explores trauma and female sexuality through its protagonists’ woozy and
peculiar point of view, really drawing us into her experience. Plus it’s shot
by legendary cinematographer Dean Cundey of Jurassic Park, Halloween and Back
to the Future fame. To see this one on the big screen is a real treat!” — Censor director, Prano Bailey-Bond
Perkins plays a tormented woman whose repressed memories of childhood abuse surface in some highly undesirable ways, compelling her to pick up a razor and go after some of the men she sees on TV everyday. Even then, they had difficulty drawing a crowd until Cimber released a new, and misleading, poster, featuring a buxom warrior-witch straddling a craggy rock, a scythe in one hand and a bloody, severed head in the other.
It is crafted using soft fabrics such as velvet, satin, or felt, which give it a plush and luxurious feel. One of the unique features of the soft witch bonnet is the variety of styles and designs available. From solid colors like black or purple to patterns such as stripes or polka dots, there are countless options to match individual preferences and personal style.
Why The Witch Who Came from the Sea is my favourite Video Nasty
Matt Cimber’s tragic tale achieves a depth and symbolism not commonly found in exploitation films of its time.
A lthough released in 1976, Matt Cimber’s The Witch Who Came from The Sea gained widespread attention in 1984 when the Director of Public Prosecution put it on the ‘Video Nasties’ list, censoring and banning it in the UK from the public. That being said, unlike most of the other films of its ilk that made the list, The Witch Who Came from The Sea has very little gore in it. While the film does have explicit nudity, it shrinks into oblivion when combined with the excruciatingly horrifying and realistic themes it delves into.
Fresh from her well-received role as Anne Frank, Millie Perkins plays Molly, a single woman who adoringly dotes on her two nephews. She paints a romanticized memory of her sailor father, idolizing him to be just as noble as the celebrities they admire on television, before ultimately dying at sea. Her sister Cathy (Vanessa Brown) gently reminds Molly that this is not exactly what happened, with the reality being that their father repeatedly inflicted sexual abuse on her, which we discover through sickening flashbacks and hallucinations.
In what turns out to be a unique way of resolving her frustrations from her traumatic past, Molly begins seducing men that society has deemed heroic (Hollywood stars, sports figures) and having her way with them before castrating and killing them, only to wake up with little to no recollection of what had happened. As we weave throughout Molly’s tragic tale, her blackouts begin to feel more real – a self-realization of her own mental illness.
While some of its ‘nasty’ contemporaries such as I Spit on Your Grave had a much more black and white rape-and-revenge approach to exploitation horror, The Witch Who Came from The Sea is distinctive for several reasons. If we’re being honest, in most cases exploitation flicks are light on the plot. The gore and nudity are essential to a ‘nasty’ and usually serve the sole purpose of titillating their audience. In the case of The Witch Who Came from The Sea, the film features not only a Freudian lens, but is riddled with mythological symbolism. Further, Molly’s harrowing past and nurturing disposition evoke sympathy and pity – emotions that the viewer misses out on in regular grindhouse entries.
Robert Thom’s script also makes television a central piece of the film, particularly its manipulative power; an incredibly fitting theme for the time. Molly’s murders are triggered by commercials and conversations about celebrities, as she’s immersed in the television’s power of idealizing masculinity in society. This mirrors her fractured memories of watching TV as a child to tune out her father’s abuse – resulting in her romanticized view of TV’s finest icons. At one point she tells one of her suitors, “television makes people so much kinder, doesn’t it?” Molly openly idolizes these picture-perfect men after seeing them on TV, parallel to her idealized view of her abusive father. Once she seduces them and they turn out to be subpar, she kills them, taking their manhood in the process.
Thom’s clever references to classical mythology in the script, along with constant metaphorical references to the sea also add a poetic element separating The Witch Who Came from The Sea from its generic ‘nasty’ brethren. We find out that the sea itself is a euphemistic term Molly’s father used to describe the sexual abuse, telling her they’ll get “lost at sea” together. At another point, we see Molly gazing intently at a reproduction of Botticelli’s Birth of Venus, with one of her male admirers explaining the myth to go with it. She learns Venus’ “father was a god” who got thrown into the sea and castrated, “knocking up the sea and Venus was the kid.”
It is with this painting that Thom wraps a neat bow on the carnage that surrounds the movie, tying the theme of emasculation that so very evidently runs throughout the film. It is also to be noted that classical mythology had very gendered monsters, many of which were female. Sirens, for example, were described as birds with the heads of women, luring sailors close to shore before killing them. The overt sexuality that Molly possesses is what makes her very desirable to her suitors – yet lethal. This archetype of the deadly female would prove to dominate horror cinema in years to come.
The key theme of disillusioning oneself between fantasy and reality, particularly through media and television, still rings true to this day, in a time we’d rather be staring at a screen than facing our own ugliest realities. A tragic character study on the aftermath of childhood abuse and an examination of celebrity worship was unfortunately marketed as a horror film and wrongfully dismissed. At the end of the day, The Witch Who Came from The Sea is not a cinematic masterpiece by any means, but an intelligent film that deserves more credit than the genre it was placed in and worth a watch as a little-known psycho-slasher gem of the late ’70s.
A lthough released in 1976, Matt Cimber’s The Witch Who Came from The Sea gained widespread attention in 1984 when the Director of Public Prosecution put it on the ‘Video Nasties’ list, censoring and banning it in the UK from the public. That being said, unlike most of the other films of its ilk that made the list, The Witch Who Came from The Sea has very little gore in it. While the film does have explicit nudity, it shrinks into oblivion when combined with the excruciatingly horrifying and realistic themes it delves into.
Some soft witch bonnets may also have additional decorations such as ribbons, lace trimmings, or sparkly sequins for a more festive or glamorous look. The soft witch bonnet is not limited to Halloween costumes or themed parties. It can be worn for various occasions, including cosplay events, fantasy festivals, or even as a quirky fashion accessory to make a statement. With its versatile design and comfortable fit, the soft witch bonnet allows individuals to embrace their inner witch or add a touch of magic to their everyday style. In conclusion, the soft witch bonnet is a charming and comfortable headpiece that adds a whimsical and enchanting touch to any outfit. Its soft and adjustable design provides a comfortable fit, while the variety of styles and designs ensures that there is a perfect bonnet for everyone. Embrace your inner witch and step into a world of magic with the soft witch bonnet!.
Reviews for "Awakening the Witch Within: The Symbolism of Soft Witch Bonnets"
1. Emily - 1/5
I recently purchased the "Soft witch bonnet" and I am extremely disappointed with the quality. The bonnet is flimsy and doesn't hold its shape at all. It feels like it's made out of cheap material that won't last long. Additionally, the design looks nothing like what was advertised. The colors are dull and the stitching is poorly done. Overall, I would not recommend this product to anyone.
2. Jacob - 2/5
I had high hopes for the "Soft witch bonnet" but unfortunately, it fell short of my expectations. The size of the bonnet was way too small, even though I carefully followed the measurement guide provided. The elastic band was also too tight and uncomfortable to wear for an extended period of time. The material used was not soft as claimed, but rather rough and itchy against the skin. I ended up returning it as it was simply not worth the price.
3. Olivia - 2/5
I purchased the "Soft witch bonnet" for a Halloween costume party and I must say, I was quite disappointed. The bonnet arrived with loose threads and the seams were already starting to come undone. The overall construction of the bonnet seemed very poor and low-quality. The elastic band was barely stretchable and didn't fit securely on my head. For the price I paid, I expected much better quality and durability. I regret buying this bonnet and would not recommend it to others.