The Witchmaker (1969) review

THE WITCHMAKER 1969 aka THE LEGEND OF WITCH HOLLOW

Anthony Eisley (Victor Gordon), Thordis Brandt (Tasha), Alvy Moore (Dr. Ralph Hayes), John Lodge (Luther the Berserk)

Directed by William O. Brown

The Short Version: This rare witchcraft movie produced by Hollywood actor-director L.Q. Jones is a mild diversion that will be appreciated mainly by horror fans who adore Corman's Poe series and those who grew up watching monster movies in the wee hours of the morning decades ago. The more adventurous genre buffs may find this of passing interest, but little else. Still, the plot is incredibly expansive and far more intriguing than what ends up on screen. Terribly tame for 1969, there's just enough sexual subtext, goofy acting and a bravura performance from John Lodge to make these satanic shenanigans a fair late night offering of bayou devilry indulgence.


Dr. Hayes, a paranormal scientist, along with a beautiful psychic named Tasha, a reporter and three other crew members journey into the Louisiana swampland to investigate a string of murders linked to the occult. Renting a cabin in the woods with no phone and no means of escape, the group run afoul of a brutish warlock who quickly becomes drawn to Tasha's otherworldy energy and plans to enlist her within his unholy coven populated by assorted satanic followers throughout the ages. Science meets satanism as Dr. Hayes matches wits with the hierarchy of hell to learn both the dark sabbat secrets and escape the fog enshrouded swamp alive.


This obscure and unusual witchcraft movie isn't exactly a forgotten contender for cult classic status, but it is a fascinating example of a low budget picture possessing an incredibly adventurous plot. The filmmakers have went the extra mile to compose a strikingly in depth script with several intriguing themes and ideas only the limited means constrict these elements from metamorphosing into something truly memorable. Shot in 1968, the film looks like it was shot much earlier in the decade. It doesn't have the feel of a latter 60s production.


The film is mildly bloody, but outside of the violent opening, the bulk of the brutality is fantasy oriented. At the outset a pretty blonde is taking a dip in the swamp which amounts to nothing more than an excuse to show a little skin. This hulking man appears and breaks the girls neck. He then hangs her upside down and promptly slashes her throat allowing the blood to pour down into a goblet. This is about as gruesome as it gets although we never see any nudity in this scene. Mixing both bare flesh and the cruel desecration of a beautiful woman's dead body would have easily pushed this film into trashy territory. The filmmakers prefer to play things somewhat safe attaining a level of violence akin to a Roger Corman Poe adaptation.


Furthermore, the movie presents multiple opportunities for nudity, but never crosses that line such as one scene where we see Tasha running through the swamp land in slow motion, her hands tightly clutching her breasts. There's several other cheesecake shots that merely tease instead of titillate. There's lots of bare backs and bare flesh conveniently obscured by moss vines or blondes in bathing suits and skimpy attire. What's baffling is that other similar movies were pushing the envelope in terms of onscreen mayhem and sexuality. Similar movies such as WITCHFINDER GENERAL (1968) and MARK OF THE DEVIL (1970) were pushing the boundaries of good taste, yet Brown and crew prefer to play it safe. Nothing wrong with that, only THE WITCHMAKER appears old hat and out of place by comparison.


Even so, THE WITCHMAKER is a prime example of the sort of thing you'd catch on the 'Late Movie' any day of the week back when television was fun to watch and not riddled with scabs of "reality shows". It's occasionally fun and entertaining, but does have a smattering of pacing issues when Luther isn't onscreen dabbling in black magic hidden away in his lair, or stalking his prey. Lodge, who plays the garishly named Luther the Berserk, does extremely well with his role coming off like a cross between Gordon Scott and Boris Karloff.


The authentic Louisiana locations are brimming with atmosphere and the cinematography by John Morrill is exceptional and often resembles the "lived in" look and feel of a European Gothic tale of terror from the likes of Bava or Margheriti.


As relatively unknown as this film is, some of the scenes bring to mind later movies that bear modest similarities. The cabin in the woods and the plethora of fog saturated locales brings Raimi's THE EVIL DEAD (1981) to mind. The research team out in the middle of nowhere studying local legends of witchcraft looks forward to the mega hit, no budget wonder THE BLAIR WITCH PROJECT (1999). Also, the confrontation between science, the supernatural and the learned doctor versus a motley clutch of satanists of all shapes and bra sizes seems to have possibly been inspired by Hammer's THE DEVIL RIDES OUT (1967) released in America as THE DEVIL'S BRIDE in 1968.



The filmmakers did seem to do a great deal of research on the subject of the occult that reportedly attracted the attention of satanic church founder, Anton La Vey, who enjoyed the picture. The scenes featuring Luther and his demonic perpetrators are the scene stealers here and these sequences look like they'd fit snugly within the framework of a period movie or some other medieval fantasy feature. Such is a sequence that comes at the 75 minute mark where Luther summons assorted minions from hell taken from various time periods; a handful of them looking like they were picked up at a Russ Meyer convention. The way in which this scene is shot is immensely creative and overflowing with energy. Various hellspawn--male and female--appear out of walls, change from an animal into human form, or appear drenched in colored lighting.


Had the rest of the movie maintained this level of spontaneity at a more manic pace, it would have been a more indelibly memorable enterprise. As it stands, THE WITCHMAKER is an undeniably interesting artifact that caters more to the lovers of atmospheric schlock than it will to those more in tune with mainstream genre product. Fans nostalgic for the likes of horror host shows in the vein of Shock Theater, Elvira's Movie Macabre and Creature Features will no doubt wish to dabble in this minor, yet ambitious occult item.

This review is representative of the Code Red DVD

DVD Link below:


Witchmaker: Legend of Witch Hollow

Cannibal Girls (1973) review

CANNIBAL GIRLS 1973

Eugene Levy (Clifford Sturges), Andrea Martin (Gloria Wellaby), Robert Ulrich (The Reverend Alex St. John), Randall Carpenter (Anthea), Bonnie Neilson (Clarissa), Mira Pawluk (Leona), May Jarvis (Mrs. Wainwright)

Directed by Ivan Reitman

Rick:"I notice you wear the same kind of things, you girls...you sisters?"

Anthea:"No, we share a lot of similar tastes."

The Short Version: Before directing movies like GHOSTBUSTERS and TWINS, Ivan Reitman started out in exploitation movies. This one is an average blackly humorous horror tale of cannibalistic cuisine about three man eating beauties, a sinister Satan styled impresario and a bizarre glut of townsfolk. The film suffers in a few spots, but otherwise, considering the problems encountered during the shoot, it's an accomplished little feature that will likely be most appreciated by die hard 70s exploitation fans. Everyone else may want to order something different on the menu.

***WARNING! This review contains images of nudity***

While on vacation, Clifford and Gloria break down in the snow covered town of Farnhamville. Looking for a place to stay, they learn the town has a gruesome legend attached to it. Three beautiful girls who used to live in an old farmhouse, lured young men back to their home where they were slaughtered and eaten. Some time later the old house has since been turned into a bed and breakfast presided over by a sinister Reverend and his three alluring assistants.


Some ten years before directing the enormous success that was GHOSTBUSTERS (1984), Ivan Reitman, like many enterprising and future famous filmmakers, started out directing exploitation movies. The two year odyssey that was CANNIBAL GIRLS began in 1971, started out as a nine day shoot for a projected $12,000 budget. But at a slim and trim 65 minutes, the film was a bit too short. By 1973, Reitman and crew had managed to complete the film and while some things aren't fully explained, this maiden effort from the future hit comedy director is an average, if creepily enjoyable example of 70s exploitation cinema shot with a passion that likely couldn't, or wouldn't be done today.


CANNIBAL GIRLS is a straight up horror flick peppered with plentiful nudity and light humorous touches courtesy of future SCTV performer Eugene (AMERICAN PIE series) Levy. It has elements that foreshadow the likes of Pete Walker's FRIGHTMARE (1974) with its isolated farmhouse, eccentric characters and cannibal culinary delights. It also possesses an uneasy aura in its Canadian township of Farnhamville that mildly anticipates the one in MESSIAH OF EVIL (1973). The citizenry are a bit on the peculiar side and the first few individuals we meet aren't the most friendly sort including the sheriff who is anything but law abiding. The folks in this 'population 1,124' also have a strange preoccupation for meat. The consumption of meat is a frequent subject here in a string of visual shots that consistently remind us that we are watching a movie with the word 'cannibal' in the title. The name of the town even has the word 'Ham' in it!


Like any trashy movie worth its salt, CANNIBAL GIRLS starts off on the right foot with a couple preparing for an intimate encounter only to be interrupted by an unseen character with a pickaxe. The man is skewered and the woman has her shirt stripped away before having blood smeared on her chest cue scream and the movie begins. It's the first few minutes and we already see blood and breasts in the same scene.


The story behind the cannibal girls is told in flashback and this lengthy sequence easily captures the creep factor ably assisted by Doug Riley's spooky soundtrack stings and cues. The notion of ravenous, beautiful women luring naive or lonely men back to their lair for sex and eventual death is frightening enough in itself. On the surface, these women appear normal enough, especially when interacting with one another, but once they're mingling with the men, one gets an uncomfortable impression of the outcome between 'the spider and the fly'. Imagine if you will, enjoying the company of a seductive woman only to wake up and find yourself handcuffed to the bed realizing too late the horror of what's coming.


Whereas a lot of movies take a vague approach in relaying script details, there are a few ingredients in CANNIBAL GIRLS that are left undisclosed which was mostly down to the lack of a script. An opening title credit attests to this as does Reitman's assertion in one of the DVD extras--'The dialog was developed by the cast from an original story by Robert Sandler with Daniel Goldberg and Ivan Reitman'. considering the movie was predominantly an improvised production, it's amazing both the dialog and the film ended up as coherent as it did. The girls have a preoccupation with blood which is used ritualistically prior to each killing and has some sort of satanic connection to their longevity and healthy existence. There's also no explanation as to the connection between the flesh eating lovelies and the bizarre Reverend. He isn't seen in the flashback (it's a fair assumption he's around somewhere), but has some sort of diabolical, hypnotic hold over people including the entire town where homes and establishments contain hanging pictures of him. Could he be....Satan?


The Reverend:"So tell me, Clifford, what do you do?"

CLifford:"I'm a rock musician...I'm an axe picker."

The Reverend:"An axe picker?! Clifford, you're a man after my own heart!"

The rapturous morbidity exemplified by the cavorting, eccentric Reverend is played with ghoulish panache by Ronald Ulrich. He's the most macabre character in the film and his dialog is rich in gallows humor. Every word he says and every conversation he entertains references some gruesome act, execution, or deplorably murderous deed. His delivery is delightfully sinister and provides a creepy contrast to the touches of paranoia and building tension of the last reel. After a life threatening stay over at the gore-met restaurant, Gloria escapes and upon awakening the next day, is back at her motel room with Clifford. She spends the next 15 minutes or so trying to leave the town and get her boyfriend, who now wants to stay(!), to join her. Of course, things don't end well for certain people leading to a predictable cannibal climax ending.


Eugene Levy is pretty much unrecognizable with his moppish hairdo and bushy mustache. In fact, much of the cast is covered in dollops of hair which was typical of the 70s. Levy will no doubt be remembered for his participation on the sketch comedy series SCTV where he worked with John Candy. Modern audiences will likely remember him best for the long series of AMERICAN PIE movies. Andrea Martin was among the cast of young victims to be in Bob Clark's seminal BLACK CHRISTMAS (1974). Martin also took a role in the 2006 remake.


During its release, AIP saddled the film with some additional gimmickry. Here it's the 'warning bell'. When you hear it, close your eyes to avoid the sight of the bloody, if crude effects shots. For the Shout! Factory release, you can watch the film with or without the intrusive bell ringing. Other movies used similar tactics such as the CHAMBER OF HORRORS (1966) with its horror horn and fear flasher. Also, there's the Spanish horror flick, WHEN THE SCREAMING STOPS (1974) aka THE LORELEI'S GRASP. For the North American release, viewers were notified when to turn away by the screen flashing red. This sort of carnival styled showmanship adds little to the films themselves aside from a nostalgic view at movie marketing of a bygone era.


CANNIBALS GIRLS is a good strip of meat mildly marinated by a team that had good things to come in the future. Fans of AIP and late night creature features such as the COUNT YORGA movies will find this of interest, but others may find the quirkiness and clash of styles problematic. A good meal is to be had here although some of the ingredients don't quite gel properly. This obscure curio is a hearty helping of steak and potatoes that's reasonably satisfying, even if it doesn't taste as good as it could have.

This review is representative of the Shout! Factory DVD