As Halloween approaches, memories of the disturbing 2016 horror movie The VVitch recur. Those Puritans! Below is a shortened review of that movie and info on the most horrifying movie I ever saw. Well, it’s a tie with Psycho.
In an old-timey flourish, the opening credits for writer/director Robert Eggers’s unconventional The VVitch (trailer), use the ancient Latinate “double v.”
It’s 1630s New England, and William and his family have been exiled from their Puritan community and must find a new home, alone together in the wilderness. Their expulsion has dangers that are obvious from the strength of the stockade surrounding the sad village buildings, the armed Indians who look on the departing family with curiosity, the gate so firmly barred behind them. From this ominous beginning Eggers builds a horrifying tale.
William (played by Ralph Ineson), his wife Katherine (Kate Dickie), their pubescent daughter Thomasin (Anya Taylor-Joy, later Emma and the chess whiz in The Queen’s Gambit), and their three younger children must create a new farm, and he selects land near a stream and a dense old-growth woods.
Some time passes, and the family has a house and an outbuilding, a chicken house, a stable for the horse, and a small corral for the goats, including a suspect animal named Black Phillip. They also have failing crops and not enough food for the winter. They also have a new baby boy, who disappears while Thomasin is minding him. All the lengthy prayers and the catechism the family recites are powerless in the face of this calamitous loss. Was it a wolf? Or did a witch emerge from the woods and snatch him?
As for atmospherics, the winter sky is ever thickly clouded. The film’s color palette ranges from gray to dark gray to greige. Brilliant color is saved for the carmine of a cape, and, of course, the blood. The music, by Mark Korven, shrieks in all the right places. These new Americans’ old Yorkshire accents are sometimes hard to understand, but the emotional current is so clear that words are almost unnecessary.
Regardless of your answer to “witches—yes or no?” the film is a chilling portrayal of what all can go wrong in a family alone in the wilderness in that very particular culture and era. Though critics liked it, audiences expecting a typical horror film apparently are disappointed that it is heavy on thinking and light on exsanguinating! Available on Amazon Prime, HBO MAX, and Apple TV.
And here is one of the scariest films I ever saw: The Vanishing (1988). There are lots of movies with similar titles and a US remake of this one. If you want to be haunted by a truly nightmarish scenario (do you?), see the original Dutch film (Spoorloos)(trailer), directed by George Sluizer, adapted from the novella The Golden Egg. In the U.S., it was judged one of the top foreign films of 1991, when it was released. Says Wikipedia, “Stanley Kubrick thought The Vanishing was the most terrifying film he had seen.” So it’s not just me. According to Rotten Tomatoes, which gives it a critics’ rating of 98%, it’s available through Prime Video and Apple TV.
I kind of lost interest in horror movies as they moved more and more toward gratuitous gore and violence. For me, the shock value took the place of artistry in the genre, and it lost a lot of finesse. I remember my childhood thrill and terror as I watched the original Universal horror movies on television. The artistry of James Wale, the director of “Frankenstein,” having the monster sit down next to the little girl at the pond and find pleasure in throwing the flowers on the water. The wretched creature finds a brief moment of joy in this simple act. But then they run out of flowers. Not understanding the consequences, the monster reaches for the little girl. The scene cuts away leaving what happens next to the imagination of the audience. Then the father is seen carrying the little girl’s body through the streets as a mob gathers to pursue the creature. That was artistry. Today, the movie would no doubt show a violent scene for shock value.