I bound myself to a witch in 1942. It was a decision that changed my life forever. I had always been fascinated by the supernatural and the power that witches possessed. Growing up, I had read countless books about witches and their abilities to cast spells and manipulate the world around them. It was a mesmerizing concept that drew me in like a moth to a flame. But it wasn't until the year 1942, during the height of World War II, that I met the witch who would forever alter the course of my existence.
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Created by Shekhar Kapur Written by Zeb Wells Art by Virgin Studios; Cover by Michael Gaydos After the sacking of a sacred Snake Temple at the hands of 68 British soldiers, each generation sees the birth of a Snake Woman, the human vessel of a Goddess hungry for revenge. A poor tenant farmer, Yasuke, his wife Sue, his daughter Asa, and her boyfriend Sutematsu are all killed, driven to death or driven to suicide by the unscrupulous landlord Chobei Onuma, his cruel and jealous wife, and their son Takeo who abuses and rapes the women who work in his father s weaving factory.
But it wasn't until the year 1942, during the height of World War II, that I met the witch who would forever alter the course of my existence. Her name was Lilith, and she was unlike any witch I had ever encountered before. Lilith had an air of mystery and power surrounding her that was impossible to ignore.
Cjrse of rhe snake wowan
It was only a couple of years ago that U.S. soil was inundated with J-Horror remakes. Theaters were flooded with films like THE GRUDGE, DARK WATER and THE RING, leading most Americans to believe that all Japanese ghost stories involved creepy teenage girls with long black hair extensions. Sadly, more traditional Japanese ghost stories (or Kaidan) are not as well known or as popular as their modern counterparts. This is a sad state of affairs, as most Kaidan are based on Japanese folklore or Buddhist stories that are brimming with interesting characters, tense atmosphere and karmic revenge. Traditional Kaidan pictures often portray how a guilty conscience can be far more terrifying that a little pale Asian kid who wears too much eye liner and screams like a cat in heat.
Yasuke is a peasant farmer whose field is reposed by his overbearing landlord, Chobei Onuma. With no land to tend, Yasuke quickly becomes ill and dies, leaving behind his wife, Sue, and daughter, Asa. While paying his respects, Chobei informs the two women that they will return with him to his home, where they will work to pay off the debt left by Yasuke. Upon leaving the grieving family, Chobei is suddenly, albeit briefly, confronted by the ghost of Yasuke. Chobei quickly vacates the village home and orders that it be demolished. Several of the male villagers are then gathered to destroy the home, which uncovers a serpent that is quickly killed. Such an act, in feudal Japan, is considered bad luck and brings with it a curse. Upon reaching the Onuma family home, Asa and Sue are thrown directly into their duties, where they are worked hard and harassed repeatedly by Chobei's wife, Masae, and son, Takeo. While tending the family court, Sue is witness to the beating of another snake found within the home. She throws herself in harms way too protect the creature, only to be injured herself. This injury leads to her death and Asa being left alone to fend off the unwanted advances of Takeo and to pay off her family debt solo. All the while Chobei and his wife are planning the marriage of their son to the mayor's daughter, but the curse put forth on the Onuma family threatens to ruin their plans for a prosperous union.
Nobuo Nakagawa, most often associated with Japanese horror and ghost films, weaves a tense yet traditional ghost story with SNAKE WOMAN'S CURSE. Those only familiar with Nakagawa's JIGOKU (released last year through The Criterion Collection), often cited as his masterpiece, may be a little surprised and possibly even disappointed, as he takes a much more subdued approach with many of SNAKE WOMAN'S visuals. That is not to say that there are not several scenes that border on grotesque, but other than the beating of several snakes, the majority of violence portrayed is done so off screen. One particular effective scene involves Asa as she fends off the unwanted advances of Takeo. Having been tricked into isolating herself on a country road, Takeo chases her like a cat playing with a mouse. Only for the chase to end as Takeo throws her in the bushes, to take advantage of her, hidden just out of sight. The scene is then followed by one of Asa left outside, for dead, where a lighting bolt splits a tree next to her collapsed body. As if her anger had collected and poured down from the heavens. The tree, split in half, then reveals a snake.
The ghost themselves haunt their victims merely by being in their presence. They never have any direct contact with the Onuma family. Instead they simply let it be know that they are still around, letting the guilt boil within, to the point of madness. This is in striking contrast to more recent J-Horror ghost films, in which spirits present themselves by crab walking down a flight of stair as if they are auditioning for Cirque du Soleil.
Originally SNAKE WOMAN’S CURSE was scheduled to be released through Panik House Entertainment in partnership with Synapse Films, along with seven other films from Toei studios. Synapse has since stepped to the forefront of these releases, presenting them with the respect and quality that cult film fans have come to expect from Don May Jr. and Jerry Chandler. SNAKE WOMAN’S CURSE is presented with a new, fully restored, anamorphic widescreen transfer which maintains the films original 2.35:1 aspect ratio. Having been transferred in high-definition from Toei's original vault elements, SNAKE WOMAN’S CURSE DVD debut is virtually flawless. Colors are bright and clear, with only the crashing waves of the Toei logo having any visible darkening or grain. The Japanese language audio, presented in Dolby Digital mono 2.0, comes across clear with both the dialogue and soundtrack easy to follow and enjoy. English subtitles are legible and flow naturally.
An audio commentary from Japanese film scholar Jonathan M. Hall does a nice job of exploring particular meanings of certain images and characters as they pertain to Japanese culture and the social classes of the time in which the film is set. Although his monotone voice is a bit like listening to Ambien, he might put you to sleep. A biography of Nobuo Nakagawa and detailed liner notes by Japanese film scholar Alexander Jacoby do an excellent job of covering the history of Nakagawa's introduction to the Asian film industry and his collective works. Original Japanese theatrical trailer and Nakagawa poster gallery round out the extra features. The DVD cover itself is reversible, with a striking illustrative cover by Wes Benscoter on one side and the original Japanese poster on the other. (Jason McElreath)
Yasuke is a peasant farmer whose field is reposed by his overbearing landlord, Chobei Onuma. With no land to tend, Yasuke quickly becomes ill and dies, leaving behind his wife, Sue, and daughter, Asa. While paying his respects, Chobei informs the two women that they will return with him to his home, where they will work to pay off the debt left by Yasuke. Upon leaving the grieving family, Chobei is suddenly, albeit briefly, confronted by the ghost of Yasuke. Chobei quickly vacates the village home and orders that it be demolished. Several of the male villagers are then gathered to destroy the home, which uncovers a serpent that is quickly killed. Such an act, in feudal Japan, is considered bad luck and brings with it a curse. Upon reaching the Onuma family home, Asa and Sue are thrown directly into their duties, where they are worked hard and harassed repeatedly by Chobei's wife, Masae, and son, Takeo. While tending the family court, Sue is witness to the beating of another snake found within the home. She throws herself in harms way too protect the creature, only to be injured herself. This injury leads to her death and Asa being left alone to fend off the unwanted advances of Takeo and to pay off her family debt solo. All the while Chobei and his wife are planning the marriage of their son to the mayor's daughter, but the curse put forth on the Onuma family threatens to ruin their plans for a prosperous union.
From the moment I laid eyes on her, I knew she was the real deal. She had deep, piercing eyes that seemed to see straight into my soul, and a voice that sent shivers down my spine. I approached her cautiously, unsure of how she would react to my interest in her craft. Surprisingly, she welcomed me with open arms. She saw something in me, a potential that she believed could be harnessed for greater purposes. And so, I made a pact with Lilith. I bound myself to her, pledging my allegiance and promising to serve her willingly and faithfully. In return, she promised to teach me the secrets of her magic and share her power with me. Over the years, Lilith became my mentor and guide. She showed me the intricacies of spellcasting, the ancient rituals that had been passed down through generations of witches. She taught me how to tap into the energy of the universe and channel it into tangible results. But there was a price to pay for this newfound power. As I delved deeper into the world of witchcraft, I witnessed the darker side of magic. I saw the consequences of using power unchecked, the havoc it could wreak on those who dared to wield it without restraint. Bound to Lilith, I was bound to a life of balancing light and darkness, good and evil. It was a constant struggle, a battle waged within my own soul. But through it all, Lilith stood by my side, guiding me through the shadows and helping me find my way back to the light. Now, as I reflect on my decision to bind myself to a witch in 1942, I realize that it was both a blessing and a curse. My life has been an extraordinary journey filled with unimaginable power and unimaginable struggles. But through it all, I have emerged stronger, wiser, and more attuned to the world around me. And for that, I am eternally grateful to Lilith and the bond we share..
Reviews for "The Witch's Betrayal: My Journey of Deception in 1942"
- Sarah - 1 star
I couldn't get into "I bound myself to a witch 1942" at all. The storyline was all over the place and I found it hard to connect with any of the characters. The writing style was confusing and lacked clarity, making it difficult to follow along. Overall, I was highly disappointed with this book and would not recommend it to others.
- John - 2 stars
"I bound myself to a witch 1942" had an interesting premise, but it fell short for me. The pacing was slow, and the plot didn't really seem to go anywhere. I also found the characters to be one-dimensional and lacking depth. While there were some moments of potential, I was ultimately left unsatisfied by this book.
- Emily - 3 stars
I wanted to like "I bound myself to a witch 1942", but unfortunately, it just didn't captivate me. The writing felt forced and unnatural, making it hard to immerse myself in the story. Additionally, the dialogue between characters felt stilted and unconvincing. While the concept had potential, the execution fell flat for me.