The Witches (1966)

It's no definitive masterpiece but it's damn close.

Good movie, but best of all time? Hardly . . .

Expected more

It's a feast for the eyes. But what really makes this dramedy work is the acting.

Cyril Frankel directed this horror tale that stars Joan Fontaine as schoolteacher Gwen Mayfield, who has returned from Africa as a missionary after an unpleasant encounter with the local witch doctor drove her out. Now hired to be the headmistress at the Haddaby school run by Alan Bax(played by Alec McCowen)and his sister Stephanie(played by Kay Walsh) Things are fine at first in this seemingly quiet English village, but sinister undercurrents present themselves as it turns out someone is leading a voodoo cult in an effort to claim power and reclaim youth, even if people have to die... Uneven film starts well, with fine performances, but someone let it slip away as it leads to a most absurdly over-the-top climax that isn't to be believed. A shame.

This is one of the Mid-Range Hammer Horror Films and even the Famous Studios Biggest Fans are mostly Disappointed in this Sometimes Creepy, Sometimes Silly Misfire. Its Parts are much more than the Whole and it tends to be Rather Limp in both Design and Denouement.The Weak Looking and Often Ridiculous Ending is the most Talked About, although it is not as Bad as its Reputation. After All, a Real Satanic Ritual in all its Orgiastic Glory must Look just as Silly from Afar.Joan Fontaine is not Bad but at Times seems a bit out of it and Wavers between Elation and Depression Unconvincingly, but it Fits Somewhat in Her Characters Struggle with Sanity. There is Enough Atmosphere to Set the Scene and there Always seems to be Evil Afoot, but just what is the Depth of that Evil?The Talky Script is Sharp, but the Whole Thing Never quite Reaches that Eerie Elegance that is a Constant in Most Hammer Movies. Overall it is worth a Look and has just Enough going for it that the Slow Pace doesn't Stop the Entertainment.

One of legendary production company Hammer Films lesser known titles, ''The Witches'' was Golden Age Star Joan Fontaine's last theatrical film. She herself bought the rights to Norah Loft's ''The Devil's Own'' and brought it to Hammer, casting herself in the leading role of schoolteacher Gwen Mayfield. Ms. Mayfield is still recovering from a traumatic experience in Africa, where, while teaching , she became the target of the local Witch Doctor. Shortly after her subsequent breakdown, she accepts another teaching position in a small English village. At first, the placid atmosphere and friendly local folk seemingly aid her attempts to overcome the past. However, it's not long before she begins to sense that all is not what it appears. Fontaine, still lovely at 49, gives an incisive performance as the victimized teacher, who isn't sure at first whether or not she is imagining the disturbing events which surround her. The hand picked supporting cast, which includes such familiar faces as Leonard Rossiter (''Reginald Perrin'') Michele Dotrice, Shelagh Fraser ('Star Wars'') and, making her debut, as the target of ''The Witches'', Ingrid Boulting, here billed as Ingrid Brett. Despite excellent performances by all, the film is stolen by film veteran Kay Walsh (Oliver Twist) former wife of director David Lean, who plays free lance writer Stephanie Bax to perfection. Distinguished stage actor Alec McCowen appears as her rather ineffectual brother. Director Cyril Frankel moves things along at a leisurely pace, abetted by some splendid photography and a suitably eerie score by Richard Rodney Bennett. Alas, though the suspense is carefully cultivated from the beginning, things begin to get shaky at mid-point, when Mayfield lands in a nursing home, with her memory of the recent past gone. After a fairly lengthy stay, it's eventually restored. From here, she escapes just in time to join a frenzied climax in which the activities of the local Coven resemble an Aerobics workout at a Rescue Mission, rather than a Black Mass. Nevertheless, the wrap up is a satisfying one, and audiences who go for this sort of thing will not feel cheated. When ''The Witches'' was released in England in late 1966, it garnered some fine reviews, but little box office. For it's American debut (in early 1967) the title was changed to ''The Devil's Own'' in order to avoid confusion with an Italian film, ''The Witches'' (starring Clint Eastwood) which appeared around the same time. Unfortunately, ''The Devil's own'' ended up on the bottom half of a double bill with Hammer's abysmal ''Slave Girls'' (here dubbed ''Prehistoric Women''). and, again, it came and went quickly, much to the chagrin of Co-Produce Fontaine. Today, however, the film retains it's ability to intrigue the viewer, and thanks to it's fine cast, it remains one of Hammer's most underrated efforts.

"The Witches" is an incredibly silly film. While it has some good moments and is oddly entertaining, the film certainly made me laugh when it shouldn't have! Not surprisingly, this was Joan Fontaine's final big-screen appearance--as she thoroughly embarrassed herself.The movie begins with Miss Mayfield (Fontaine) somewhere in Africa where she's being attacked by some witch doctor sort of fellow. Suddenly, the scene magically cuts away and Mayfield somehow escaped! She's now in England and is applying for a job as a teacher. In this tiny town in the middle of nowhere, Mayfield is very happy and things seem rather ideal. However, after a while, she sees evidence of voodoo--and it reminds her of the evil that befell her in Africa. And, incidentally, Mayfield starts acting VERY nutty. Where does all this go? Well, see for yourself--but suffice to say it ends with a giant pagan orgy with dancing and gyrations--and also, interestingly, some hints at lesbianism.The film clearly has some spooky moments and sets the mood nicely. Unfortunately, it also abounds with silly overacting. Miss Mayfield either smiles and acts like Mary Poppins on goofballs or she acts rather nutty. But her performance pales in comparison of EVERYONE in the final scene--one which is unintentionally hilarious. It's also hilarious that the lady who seems VERY interested in Mayfield also told her about the only way to destroy her and the devil cult! This is much like Dr. No installing a self-destruct button on his nuclear power plant and marking it 'self-destruct' and then allowing James Bond to see it!!! Overall, overacted and full of silly plot holes BUT also oddly entertaining.By the way, perhaps I was a therapist and psychology teacher too long, but at the 5:40 mark, I laughed at the crude Freudian imagery. I am not sure if the filmmakers intended it--I think they did!!