As a kid, Roald Dahl held a reputation as the "thinking child's" favorite author. His stories always had an undertone of darkness about them, a cruel edge. Even his lighter stories, like "Charlie and the Chocolate Factory," doesn't spare its young characters. Later in life, when I discovered that Dahl also wrote dark thrillers and even erotica, it wasn't surprising. Dahl's style has always made him a rough fit for Hollywood, who like their children flicks to be safe and sanitized. When Dahl adaptations do turn out alright, like "Willy Wonka and the Chocolate Factory," they tend to only loosely resemble their source material. Which brings me to "The Witches," a surprisingly macabre family film.
"The Witches" starts appropriately, as a dark fairy tale told by a grandmother to her grandson. The old woman lays down the movie's ground rules. Witches are evil inhuman beings, with purple eyes, no toes, and bald heads. They live to murder children, who smell like dog droppings to them. The parents are killed in a car crash soon afterwards, leaving Luke alone with his grandmother. After a diabetic attack, the old woman is sent to a English hotel to recuperate, joined by her grandson. Fate would have it that the hotel, that same weekend, would be holding a gathering of witches, led by the Grand High Witch. There, the boy overhears the witches' newest plot, a plan to turn of all of England's children into mice.
"The Witches" is a children's film. Its protagonist is the kind of can-do, heroic kid usually seen in films of this type. The story's climatic thrust depends on a child outsmarting adults, another stalwart feature of the genre. There's almost a layer of "gee-shucks" sincerity to the way Luke interacts with his grandmother and the other boy his age. Luke and his friend Bruno spends the entire second half of the film in the form of a mouse, which allows for all sorts of cute antics. The emotional center of the story is the boy's relationship with his grandmother, one of safety and warmth. The film ultimately does not transcend the genre.
But, boy, does it try. "The Witches" is amazingly grotesque at times, enough so that you can fairly categorize it as a kid-friendly horror film. The film makes it clear, from the beginning, that witches want to kill children. It doesn't use any softer synonyms or dance around it. The film's highlight is the witches' meeting. Angelica Huston's head witch removes her skin and hair, revealing a grotesque true face, her skin stretching, body contorting. It's a moment of body horror worthy of Cronenberg. The Grand High Witch has the wart covered skin, sunken eyelids, and hook nose of your stereotypical witch but the film extends the stereotypes to their extreme. That sequence also features a whole room of old women revealing stub feet and balding, scaly heads. The image of young boys similarly stretching and morphing into a mouse is equally unsettling. The finale, a room of witches shrinking into mice, maintains those nasty creature effects. Though the Jim Henson Creature Studio effects are somewhat cartoony I bet they still provided many young watchers with vivid nightmares.
Another thing to like about "The Witches" is the mythological footprint it puts on the witch concept. The script treats witches as if they were vampires or werewolves, classical monsters with specific traits, powers, and weaknesses. The script speaks in sweeping, fable-like terms. All witches are evil, devoted to murdering kids. Why? Because they're monsters, that's why. Their nasty appearances match their attitudes, only able to disguise their evil for so long.
The movie is also helped out by its strong cast. Anjelica Huston is delightfully over-the-top as the film's villain, the wicked head witch. She speaks with a cartoonish German accent, fully committed to the material. Even while under extensive make-up, the actress' mannerisms are visible. Mai Zetterling is also notable as the grandmother, warm but with a mischievous twinkle in her eyes. Though a bit flat as the young lead, Jasen Fisher is a strong enough actor to carry his role. His performance actually improves when the character is turned into a mouse, the young actor's voice working quite well.
Nicolas Roeg's usually stylish direction is muted a bit here but he still pulls off some memorable visuals. The film is uniformly strong up until the very end. The script wimps out, providing an unlikely solution to the hero's problem, de-mouse-fying him at the last minute. It's an especially lazy screen writing decision and the only blotch on an otherwise strong film, a surprisingly twisted kids flick.
"The Witches" starts appropriately, as a dark fairy tale told by a grandmother to her grandson. The old woman lays down the movie's ground rules. Witches are evil inhuman beings, with purple eyes, no toes, and bald heads. They live to murder children, who smell like dog droppings to them. The parents are killed in a car crash soon afterwards, leaving Luke alone with his grandmother. After a diabetic attack, the old woman is sent to a English hotel to recuperate, joined by her grandson. Fate would have it that the hotel, that same weekend, would be holding a gathering of witches, led by the Grand High Witch. There, the boy overhears the witches' newest plot, a plan to turn of all of England's children into mice.
"The Witches" is a children's film. Its protagonist is the kind of can-do, heroic kid usually seen in films of this type. The story's climatic thrust depends on a child outsmarting adults, another stalwart feature of the genre. There's almost a layer of "gee-shucks" sincerity to the way Luke interacts with his grandmother and the other boy his age. Luke and his friend Bruno spends the entire second half of the film in the form of a mouse, which allows for all sorts of cute antics. The emotional center of the story is the boy's relationship with his grandmother, one of safety and warmth. The film ultimately does not transcend the genre.
But, boy, does it try. "The Witches" is amazingly grotesque at times, enough so that you can fairly categorize it as a kid-friendly horror film. The film makes it clear, from the beginning, that witches want to kill children. It doesn't use any softer synonyms or dance around it. The film's highlight is the witches' meeting. Angelica Huston's head witch removes her skin and hair, revealing a grotesque true face, her skin stretching, body contorting. It's a moment of body horror worthy of Cronenberg. The Grand High Witch has the wart covered skin, sunken eyelids, and hook nose of your stereotypical witch but the film extends the stereotypes to their extreme. That sequence also features a whole room of old women revealing stub feet and balding, scaly heads. The image of young boys similarly stretching and morphing into a mouse is equally unsettling. The finale, a room of witches shrinking into mice, maintains those nasty creature effects. Though the Jim Henson Creature Studio effects are somewhat cartoony I bet they still provided many young watchers with vivid nightmares.
Another thing to like about "The Witches" is the mythological footprint it puts on the witch concept. The script treats witches as if they were vampires or werewolves, classical monsters with specific traits, powers, and weaknesses. The script speaks in sweeping, fable-like terms. All witches are evil, devoted to murdering kids. Why? Because they're monsters, that's why. Their nasty appearances match their attitudes, only able to disguise their evil for so long.
The movie is also helped out by its strong cast. Anjelica Huston is delightfully over-the-top as the film's villain, the wicked head witch. She speaks with a cartoonish German accent, fully committed to the material. Even while under extensive make-up, the actress' mannerisms are visible. Mai Zetterling is also notable as the grandmother, warm but with a mischievous twinkle in her eyes. Though a bit flat as the young lead, Jasen Fisher is a strong enough actor to carry his role. His performance actually improves when the character is turned into a mouse, the young actor's voice working quite well.
Nicolas Roeg's usually stylish direction is muted a bit here but he still pulls off some memorable visuals. The film is uniformly strong up until the very end. The script wimps out, providing an unlikely solution to the hero's problem, de-mouse-fying him at the last minute. It's an especially lazy screen writing decision and the only blotch on an otherwise strong film, a surprisingly twisted kids flick.