Search
Search results
Gareth von Kallenbach (965 KP) rated The Witch (2015) in Movies
Aug 6, 2019
Based on New England folklore, Robert Eggers brings us his debut film The With.
William (Ralph Ineson) and Katherine (Kate Dickie) are the parents of five children living in 1630 New England. This God-fearing family has become dissatisfied with how their town chose to live by the word of God. William hopes to promote change in the town, instead he causes his family to be banished left only to find a patch of land bordered by dark dense woods to call home. Luckily they have Thomasin (Anya Taylor-Joy) the eldest daughter who is in charge of looking after her younger siblings. A pre teen Caleb, unruly twins Mercy and Jonas and baby Samuel along with all of the household chores. Newborn Samuel has fate working against him when he suddenly disappears during an afternoon round of peekaboo.
The family is left heartbroken. With no sign of Samuel’s return William declares that this must have been the act of a wolf. Thomasin’s siblings soon become suspicious that this was not the work of a wolf, that she has to have succumbed to the malevolent forces of witchcraft. Mercy has also claimed that she and her twin brother have been conversing with their goat Black Phillip one would assume only jokingly from children. There might just be something darker going on. As the days progress and their crops continue to fail, tensions between the family grow. Things start to go bump in the night making the situation more oppressive each day.
This film is described as a horror genre film, after screening it though I felt it lean more towards a psychological thriller. When asked what films inspired The Witch Robert Eggers mentioned Stephen King’s The Shinning which to me really shines through the film. Most importantly the film is based on actual historical accounts of witchcraft in a time where men feared a woman’s power and sexuality. In my opinion the horror in it is the unknown, because even though you don’t see it doesn’t mean it doesn’t exist. I suppose it can be viewed as both horror and psychological.
Paying close attention to detail Eggers’ immerses the audience into 1630 New England. It’s hard to believe that it was filmed in Canada and not New England because of how accurate every little detail is from the hand stitched costumes to the intricacies of the dialogue. Perhaps this can be credited to his former career as a production designer and costume designer. The music alone adds the perfect amount of horror to make those hairs on the back of your neck stand up. This film is an excellent portrait of amazing filmmaking and horrific historical folklore.
William (Ralph Ineson) and Katherine (Kate Dickie) are the parents of five children living in 1630 New England. This God-fearing family has become dissatisfied with how their town chose to live by the word of God. William hopes to promote change in the town, instead he causes his family to be banished left only to find a patch of land bordered by dark dense woods to call home. Luckily they have Thomasin (Anya Taylor-Joy) the eldest daughter who is in charge of looking after her younger siblings. A pre teen Caleb, unruly twins Mercy and Jonas and baby Samuel along with all of the household chores. Newborn Samuel has fate working against him when he suddenly disappears during an afternoon round of peekaboo.
The family is left heartbroken. With no sign of Samuel’s return William declares that this must have been the act of a wolf. Thomasin’s siblings soon become suspicious that this was not the work of a wolf, that she has to have succumbed to the malevolent forces of witchcraft. Mercy has also claimed that she and her twin brother have been conversing with their goat Black Phillip one would assume only jokingly from children. There might just be something darker going on. As the days progress and their crops continue to fail, tensions between the family grow. Things start to go bump in the night making the situation more oppressive each day.
This film is described as a horror genre film, after screening it though I felt it lean more towards a psychological thriller. When asked what films inspired The Witch Robert Eggers mentioned Stephen King’s The Shinning which to me really shines through the film. Most importantly the film is based on actual historical accounts of witchcraft in a time where men feared a woman’s power and sexuality. In my opinion the horror in it is the unknown, because even though you don’t see it doesn’t mean it doesn’t exist. I suppose it can be viewed as both horror and psychological.
Paying close attention to detail Eggers’ immerses the audience into 1630 New England. It’s hard to believe that it was filmed in Canada and not New England because of how accurate every little detail is from the hand stitched costumes to the intricacies of the dialogue. Perhaps this can be credited to his former career as a production designer and costume designer. The music alone adds the perfect amount of horror to make those hairs on the back of your neck stand up. This film is an excellent portrait of amazing filmmaking and horrific historical folklore.
Sean Freese (4 KP) rated The Witch (2015) in Movies
Jun 25, 2020
THE VVITCH
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
The full title is, The Witch: A New England Folktale. Like Grimm’s fairytales, American folklore has taken revisions over the centuries to become a palatable collection of juvenile life lessons. Anyone who has read the original versions of these stories knows how brutal, horrifying, and far removed they are from our current values. As much as I would not condone reading original classic witch tales to a small child, they do contain much deeper implications and ideas than the simple “Don’t tell lies” that are gleaned from modern revisions. What’s fascinating about The Witch is how familiar the setting and story is, without a single cliché or moment of prediction to speak of. The evil that was feared in 17th Century Puritan America has been so eclipsed by the human horrors of The Salem Witch Trials, that we have forgotten what it was to fear a witch.
We know these characters only by their Christian names. William removes his family from their Colonial settlement due to an incompatibility of faith. The colony of Puritans isn’t Christian enough. With his wife, Katherine, William takes his 4 children into the wilds of the Northeast. Airs of The Crucible envelope the setting. Common pronouns are replaced with “thines” and “thous”. Dialogue is delivered as if quoted from Shakespeare or the Bible itself. In the past, this oral dynamic has always sounded ardently rehearsed. Somehow, it’s natural here. Considering William’s rigorous faith, you might expect him to be an overbearingly shrewd father. He is in fact a loving and good man of his time; often a pushover. Katherine is the more fearsome parent, with a shrill voice and gaunt pointed face. While they do live in hardship, this is a good family. Once Fall deadens the colors and greys the skies, things begin to take a disturbing turn.
Ralph Ineson and Kate Dickie play the parents without an exaggeration of the material. Remarkable still are the actors portraying their children. Harvey Scrimshaw plays William’s 10-year-old son, Caleb, as natural as can be imagined. The dramatic beats of a horror movie come with taxing climactic moments and Scrimshaw acts beyond his years. Anya Taylor-Joy plays the eldest daughter Thomasin; a doe-eyed blonde beauty who plays the most relatable character of the flock. The dynamic between Caleb and Thompsin has notes of innocent sexual tension. Their secluded life leaves a great deal of new feelings that can’t be addressed due to their customs. These feelings lead to foreign temptations that are preyed upon by the timeless evil beyond the trees.
The greatest achievement of this film is how faithful it is to its setting and story, while keeping enough behind the veil to become engrossing. The tale feels as old as any, drawing from universal fears and motivations. How it draws you in, keeping you tied to the victims and their perspective while keeping the evil at arm’s length, shows a discipline of craft that greatly compliments the material. Much like vampires, witches have been trivialized and diluted by film into something superficially attractive and entertainingly evil. As with Noseferatu, seeing a witch living a damnable existence of ugliness is much more appropriate. If they’re ever beautiful, they won’t be for long.
