It's more about the psychology of the main character and what has led her to this point. Before he can react, she begins to carve the razor straight down his body from neck to abdomen, viciously slicing at his groin (an aggressive percussive score augments the violence). Although released in 1976, the film was shot in 1971, and sat on the shelf for five years before finding distribution. Molly enters and playfully takes the razor from him to complete the shave. The Witch Who Came in From the Sea makes a fascinating companion piece to a recent film called Felt (2014), the follow-up to director Jason Banker’s unclassifiable gem Toad Road (2012). A disturbed woman is haunted by memories of childhood abuse, which culminates in a murder spree. The scene is a crazy rendering of the famous Kuleshov montage effect, where the power of association creates the meaning between shots as an outcome of desire; the art of montage being the art of desire: “First the object of desire [the muscular male bodies], then the desire [expressed in Molly’s look]” (Sam Rohdie, Montage, p. 27). My father did.”. 1. Donato Totaro has been the editor of the online film journal Offscreen since its inception in 1997. For Molly, what happens on television is what happens in reality. Hence her sexual trysts are about her need to control powerful men, which as we see in the flashbacks with her father, pinned under his large body, she lacked as a victimized child. Rather than dark lashes of chiaroscuro Cimber and Cundey opt for a dreamy, sun-drenched haze, conditioned by the seaside location. She imagines the TV commercial man speaking to her directly (“Hey Molly, want to come sail the world with me”). Like Molly, Amy weaves through bouts of fantasy states which the viewer must negotiate; and the film’s visual style shares Witch‘s leaning toward a lighter, lower contrast, non-expressionist aesthetic that feels opposite to conventional horror aesthetic. Totaro received his PhD in Film & Television from the University of Warwick (UK), is a part-time professor in Film Studies at Concordia University (Montreal, Canada) and a longstanding member of AQCC (Association québécoise des critiques de cinéma). To see a woman as devilishly forward with her sexual desires as Molly in 1971/1976 must have been shocking. As if the high levels of violence and the female’s sexual independence were not enough, Molly’s brazen sexual independence is not punished by a morally repugnant death, and to top it off, the film throws in a vision of Hollywood as a land of excessive drinking, drugs and vanity. The final image features Molly peacefully drifting at sea on a small sailboat, an image that pulls together all her fantasies (the mermaid tattoo on her father’s chest that she copies, the color polarized montage fantasy scenes of her on a raft littered with mutilated male corpses, and the painting of Sandro Botticelli’s “The Birth of Venus,” which is featured in a key scene). The visual style of the film, authored by DP Dean Cundey in his first professional effort, which was followed by stunning work for John Carpenter (Halloween, The Fog) and Spielberg (Jurassic Park), goes somewhat against the grain of horror film style, opting for soft, low contrast lighting and anamorphic framing that feeds the literate script. Molly begins to slash them with a small razor (the film is not without its humor, as Molly intones, holding the tiny razor in hand, “Shit, this is going to take forever”). Audience Reviews for The Witch Who Came from the Sea Mar 01, 2016 Bizarre mish-mash of sexuality, horror, terrible & great writing, exploitation and art … Remember that Mulvey’s famous essay “Visual Pleasures in Narrative Cinema” was written in 1975, and the film, though released one year later, was shot in 1971. Molly’s Sexualized-Empowering Death Fantasy Montage, The men Molly desires are always first seen on television —football players, the man on the shaving commercial (“look he looks like pappa”), men she refers to “as beautiful”— heightening the idealized-fantasy nature of her desires, and how beauty is fetishized in Hollywood. The bluntness of Molly’s sexually ravenous gaze throws a wedge into Laura Mulvey’s famously cited theory about how classical narrative cinema subordinates female desire into the ubiquitous all-male gaze. The Witch Who Came from the Sea. This was pretty surprising. Unlike Molly, who externalizes her repressed sexual abuse trauma into promiscuous behavior, Amy recoils from human contact and struggles to engage relations with the opposite sex (though she finds some comfort with female companions). Most of her sexual encounters are perverse because she targets men who are physically imposing (athletes, body builders) and self-confident (actors). Volume 19, Issue 9 / September 2015 All of the built up aggressive and violent tension director Banks orchestrates in social scenes between Amy and other people comes to a shockingly abrupt catharsis (for Amy, not us) in the final scene. The gruesome attack, expected but shocking nonetheless in its brutality, is offset by the splendid natural setting and hazy sunlight filtering through trees and casting them in a glowing halo. Like Witch, Felt deals with a (younger) woman Amy (Amy Everson) who is tragically scarred from an unstated sexually abused past, and the trauma has lacerated her everyday ability to relate to people, especially men. The Witch Who Came From the Sea Trailer: https://vimeo.com/100066780, The film can be viewed for free here: http://www.watchfree.to/watch-5d9a-The-Witch-Who-Came-from-the-Sea-movie-online-free-putlocker.html#close-modal, And for a small fee in a better quality version here: https://www.fandor.com/films/the_witch_who_came_from_the_sea. Amy (right) in car with Roxanne (Roxanne Knouse) and Kenny, Amy and Kenny wearing Amy’s fabric art, moments before the attack. Molly’s point of view is squarely focused on the men’s bulging muscles and bulging crotches, with one tight close-up of an unnaturally large crotch area being as grotesque as the final images of one the men hanging dead on a chain noose, framed and staged to look like a Roman Gladiator. Molly’s rose-colored view of the past is underscored by the reactions of her pragmatic sister Cathy (Vanessa Brown). An example of this being the opening beach scene where Molly fantasizes violent, sexualized deaths for the exercising body builders. Volume 19, Issue 9 / September 2015 However, the psychopathic or sociopathic female killer, as I addressed in my essay Women Who Kill has become much more present in the landscape of contemporary American horror films, say from 2005 onward, making The Witch Who Came in From the Sea ahead of its time in terms of horror and gender. Through a flashback we discover that when Molly was about 7 or 8 years old she was sexually abused and raped by her brutish sailor father. Essays As such, I would claim The Witch Who Came From the Sea as a missing link between the more ‘liberal’ and progressive gender dynamic of the 1970s Euro-horror and the post-(roughly) 2005 North American horror film. 1970s horror felt horror jason banker the witch who came from the sea, http://www.watchfree.to/watch-5d9a-The-Witch-Who-Came-from-the-Sea-movie-online-free-putlocker.html#close-modal, https://www.fandor.com/films/the_witch_who_came_from_the_sea, Mapping the Social: The Bedroom in the Japanese New Wave, the film was named as one of the “video nasties” during the 1980s censorship witch hunt in the UK. While Molly’s sister Cathy is critical of her behaviour and over-all conduct, Molly has allies in the sympathetic ears of her boss (she waits tables at his Boathouse bar) Long John (Lonny Chapman), an older female clientele at the bar, Doris (Peggy Feury), and her two nephews Tadd and Tripoli. Molly’s behaviour is as brazenly active as any female character from one of many Euro-horror films contemporary to its making, which was a rarity for North American horror of that time. Molly is on the beach passing time with her two nephews, Tadd (Jean Pierre-Camps) and Tripoli (Mark Livingston), but her attention is redirected to three musclemen in tight swim pants, lifting weights and working the pull up bars. The nature of the attack feels like a release of years long pent up anger. This make-up of the victims helps Molly because their physical strength and sense of confidence, pitted against a woman, gives them a false sense of security, which Molly uses to her advantage. The kills are subtle. In another sex scene with an unappealingly vain male actor, Billy Batt (Rick Jason), she invites fellatio but then attacks the man’s penis with her castrating mouth like a feral animal. In both cases the violence is inflected with a sexual anger which suggests revenge for past events. She asks the man’s girlfriend: “Do you love him?” The girlfriend replies, “Gee, why?” Molly, as if all Id and no Superego, retorts, “Because I do….I want him.” She goes home with the actor, and in the post-coital morning scene, the man is seen shaving, nude in front of the bathroom mirror. Drugs are used as a prelude to s & m sex that involves bondage, as Molly ties the men up in ‘sailor’ knots, leaving only their one foot untied (a gesture which connects later to the primal moment where her father died while raping her). The back story is a common early life abuse story, but told through flashback and fantasy with a visual and aural style which makes it hard to distinguish whether Molly’s actions are real or dark sexualized death fantasies. Radio news items inform us that the killings are real, but the film’s style (notably a reverberating sound and slight slow motion) suggests that these killings are part of Molly’s twisted fantasy world, which nonetheless slips over into reality —witness her inability to separate television from reality (“It must be true if it is on television”)— and the way she creates a false memory of her father as a great sea captain, buried at sea, to cover the painful rape reality that she is repressing. Amy seems at rest after the kill, and then calmly castrates Kenny and uses his bloodied penis in place of her art prosthetic penis. The men, at first cocky and confident in their male selves, slowly begin to realize that Molly is not all there, and that they are at serious risk. But it's not that cheesy and it's a really different type of slasher. Directed by Matt Cimber. Amy mounts Kenny, who is resting back on a flat tree trunk, and begins to make love with him. While his guard is down (like the men in Witch), Amy reaches for her bag on the ground and pulls a pair of scissors out and repeatedly stabs a shocked Kenny in the chest with dozens of furiously short jabs. The scene plays as a cross between Fellini and Grand Guignol. Like the earlier men, he at first feels safe in the confines of his male skin, thinking that, as a woman, she holds no risk. The Witch Who Came in From the Sea makes a fascinating companion piece to a recent film called Felt (2014), the follow-up to director Jason Banker’s unclassifiable gem Toad Road (2012).
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