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The Witches (1990) | Trailers From Hell

The Witches (1990) | Trailers From Hell


Roald Dahl’s marvelous horror thriller for youngsters (the ones ready for it) knows precisely what it is and doesn’t soft-pedal the scary stuff. Horrible (but attractive) witches plot the wholesale destruction of Hansels and Gretels all over the place, and the only child that can stop them has been turned into a mouse. Nicolas Roeg runs wild with Dahl’s imaginative, refreshingly un-PC e-book; the standard softening touches are skipped in favor of unadulterated scarifying FUN. It couldn’t be higher directed; we wish that Roeg had been capable of create a dozen such outrageous fantasies. Star Anjelica Huston is a tremendous Grand Excessive Witch, with Mai Zetterling, Anne Lambton and Jane Horrocks providing in a position witchy help. Really helpful!


The Witches
Warner Archive Assortment
1990 / Shade / 1:85 widescreen / 92 min. / Road Date August 20, 2019 / out there by means of the WBshop / 21.99
Starring: Anjelica Huston, Mai Zetterling, Jasen Fisher, Rowan Atkinson, Bill Paterson, Brenda Blethyn, Charlie Potter, Jim Carter, Roberta Taylor, Anne Lambton, Jane Horrocks, Sukie Smith, Rose English, Jenny Runacre, Annabel Brooks, Emma Relph, Nora Connolly, Rosamund Greenwood.
Cinematography: Harvey Harrison
Film Editor: Tony Lawson
Unique Music: Stanley Myers
Written by Allan Scott from the ebook by Roald Dahl
Produced by Mark Shivas, Jim Henson
Directed by Nicolas Roeg


A Wikipedia article states that Robert Zemeckis could also be working on a remake of Roald Dahl’s e-book The Witches. Nicolas Roeg’s incomparable 1990 model is already all the things the story needs to be. Can a ‘youngsters’s’ movie be genuinely scary and disturbing?  Can youngsters deal with it?  I say let the ankle-biters fend for themselves, for I wouldn’t change a body on this delightfully disturbing marvel of a film. It’s as magical and light-spirited as The Princess Bride except that the subject isn’t goodness and lightweight.

On this Yr of The Lady, can we anticipate an essay decrying the the whole venture as an exercise in undiluted misogyny?  In fact it’s!  Witches have been undergoing a romantic picture overhaul for roughly fifty years, however Dahl’s unique story resets the dial back to EVIL, even when the overt Satanic connotations have been put aside. Yeah, I’d not show it to youngsters more likely to be freaked out by weird transformations, or more likely to be disturbed by the story’s malign, murderous ladies. But most any child with an creativeness will probably be transported by the witchy conspiracy that goals to eradicate youngsters from the face of the Earth!

We’re advised that Dahl’s ebook The Witches has a historical past of challenges by faculty conservatives, as being unsuitable for youngsters. Was there ever a extra constructive testimonial?


I have to say that the women in The Witches are just too fascinating for us to not take pleasure in their spirited revelry. In addition to the spectacular Anjelica Huston, there’s a full gallery of eccentric women that may’t wait to disclose themselves as horrid monsters. Among them are some actual charmers, too, comparable to Jenny Runacre and Jane Horrocks. Adult males don’t rely for much, although Rowan Atkinson, Bill Paterson and Jim Carter acquit themselves properly enough. The excellence of Nicolas Roeg’s filmmaking is what makes all of it work. The maker of Efficiency, Walkabout, Don’t Look Now, The Man Who Fell to Earth, Dangerous Timing, and Insignificance is aware of tips on how to play clever games together with his digital camera. Each moment on this show is arresting.


Dahl’s primary story might have come from the margins of Häxan, minus the twisted psychology of Protestant witch-burning. American boy Luke (Jasen Fisher) loses his mother and father in Norway, and his Norwegian grandmother Helga (Mai Zetterling) takes him in charge. Their favorite topic is witches, as Helga is satisfied that they exist, and tells Luke how one can spot them and the unusual guidelines of their conduct — primarily that they wish to kill youngsters. Resettled in England, Luke and Helga take a relaxation (Helga has grow to be diabetic) at a seaside lodge internet hosting a wierd convention. The Royal Society for the Prevention of Cruelty to Youngsters is a front for a world band of witches led by Miss Ernst, in actuality The Grand Excessive Witch (Anjelica Huston). Helga is usually restricted to her room, however Luke manages to crash the secret, locked-doors conference meeting, the place Miss Ernst and her mob of witches remove their engaging disguises. The monstrous Grand High Witch lays out a plan for destroying the youngsters of America — through the use of candy-store fronts to slide tens of millions of youngsters an elixir that may turn them into mice. Luke is caught and became a mouse, but with Helga’s help he goes on a dangerous mouse-mission, to defeat the witches through the dinner hour.


The Witches pulls no punches from the beginning; it’s a paranoid fantasy for pre-teens. Evil child-killing ladies are all over the place. Grandma Helga tells the macabre story of a kidnapped woman whose soul stays trapped in a painting. That phase alone is extra chilling than ten episodes of One Step Beyond, however Dahl and Roeg quickly encompass Luke with a full-on horde of fiendish creatures, in grotesquely ugly makeups. Anjelica Huston had by this time earned her stardom with a succession of terrific film portrayals, in Prizzi’s Honor, Gardens of Stone, The Lifeless, and Crimes and Misdemeanors; her great work would continue in The Grifters and The Addams Family. Huston’s Miss Ernst is a bundle of nastiness, even in her ‘charming’ human version, a patronizing German who can barely disguise her contempt for almost every little thing. Speak about purity of feelings: Miss Ernst revels in her fiendishness to a level that may trigger Boris Karloff and Bela Lugosi to burst with delight.

The child-story format has echoes of writer Dahl’s Charlie and the Chocolate Manufacturing unit. Luke and a gluttonous second boy Bruno (Charile Potter) are fairly frighteningly become mice, transformations which might be fairly traumatic, just like the horrors of Pleasure Island in Pinocchio. Luke can still speak, and takes his new rodent id in stride. Helga has little hassle adjusting, however Bruno’s mother and father (Invoice Paterson and Brenda Blethyn) have a more durable time accepting the apparent — as a mouse, little Bruno is just as dimwitted as when he was human.

This may be ‘The Curse of the Weremouse,’ however being became mice doesn’t slow down the boys’ effort to foil the witch conspiracy. As this is partly a Jim Henson manufacturing, wonderful puppetry and terrific live-mouse macro images make Luke’s adventures scooting across carpets and invading the kitchen and the dinner salon, into the perfect scenes of their variety. The show earns its PG score by following the sometimes- gory guidelines of unique, uncensored fairy tales. Luke even loses part of his tail to a chef’s carving knife. A lot for watered-down family-values youngsters’s entertainment. I feel the youthful, more daring Walt Disney would approve.

The persistently cockeyed tone of this present retains us off stability, and smiling. Serving to out with the light strategy is a very good look by Rowan Atkinson because the lodge supervisor Mr. Stringer, a fussy idiot desperate to keep up appearances whereas taking outing for hanky-panky with one among his maids. And those &%@* witches are in all places, even on his kitchen employees.


Is everyone overacting?  Sure, and marvelously so. Anjelica Huston can barely include her Pure, Unadulterated Evil. The assembled witches, tricked out in snaggle-teeth, purple-tinted eyes and foam rubber deformities, are jarringly deranged. The undoing of this conclave of jolly fiends is loopy and chaotic.

Roald Dahl’s bold unique story doesn’t have Luke —- nicely, that’s too huge a shock to break. After going over the top with grotesque scenes of monster transformations, director Roeg apparently trimmed a lot of photographs deemed too disturbing. However the completed movie additionally altered Dahl’s finale. Not from the e-book is Miss Ernst’s put-upon secretary, Miss Irvine (Jane Horrocks), who’s so badly handled that she quits and takes the Glinda Pledge. That paves the best way for an ending barely extra typical than Roald’s unique, by which CCAF (Certain Penalties are Last). Hm… we’re reminded of Ms. Horrocks’ terrific efficiency in Mike Leigh’s Life is Sweet. The primary aberration of her unconventional younger lady in that present can also be associated to chocolate.


Nicolas Roeg’s finish does recommend that the Grand Excessive Witch simply forgot rule number one among Evil conspiracies: in the event you’re going to run a nasty organization to murder youngsters, treat the assistance higher. Roald Dahl was reportedly infuriated that his witches can be compromised by potential atonement. Personally, I feel the movie is dazzling, and the altered ending no less than provides it a probability at business attraction: I can readily envision walkouts and dangerous phrase of mouth from mother and father foolish enough to take pre-schoolers to something referred to as The Witches. I keep in mind seeing the 1985 The NeverEnding Story in a matinee full of tots whose mother and father breathed a sigh of aid when the dark tone finally turned constructive at the conclusion. A few of them doubtless nonetheless thought NeverEnding Story too morose.

All that leads us to keep in mind that director Roeg by no means made films that fit comfortably in mainstream categories. The Witches can be a picture for adults, not babysitting filler for a matinee. But I’ll guess that plenty of youngsters would adore it.

Nicolas Roeg liked to make ladies look lovely, and his witches are not any exception. Trendy Anne Lambton is the maniac who tries to lure Luke down from a treehouse with a bar of chocolate. Jane Horrocks supplies a useful contrast for the conclusion — she and the comforting, sickly-but-principled Mai Zetterling remind us that each one ladies are usually not EVIL. Several fiendish monstrosities within the crowd are extremely beautiful-horrid, bitch-witches with terrific personalities — what an enormous makeup job that should have been. Your average vampire and zombie hordes pale into insignificance; solely Ken Russell sometimes hit the same heights, and he was often ‘R’-rated.

Odd notice — the little plastic home the place mouse-Luke resides at the finale, seems to be a business toy I bought for my youngsters, a plastic Ghostbusters firehouse. I simply checked out one on-line, and perhaps I’m mistaken .. was it some sort of Ninja Turtles house?   I nonetheless can’t bear to half with their TMNT ‘Technodrome’ battle dome toy — Chris Groban’s mother and father gave that expensive merchandise to my son Daniel for his birthday around 1990.


The Warner Archive Assortment Blu-ray of The Witches will make one overlook blah TV broadcasts and previous full frame VHS copies. Nicolas Roeg’s digital camera by no means stays still, and the widescreen framing makes all of these uncommon wide-view angles look even more dynamic. Stanley Myers’ emphatic music score comes across handsomely — nevertheless it additionally makes a very good haunting use of Dies Irae, as each self-respecting witchcraft image has achieved since Dreyer’s Day of Wrath.

The only additional is a trailer, which presents the show pretty — and certain stored away mother and father on the lookout for kiddie fare. For a number of seconds I assumed the trailer was going to chorus from displaying Anjelica Huston’s outrageously grotesque makeup … but no, it’s there!

Reviewed by Glenn Erickson

The Witches
Blu-ray charges:
Film: Wonderful
Video: Wonderful
Sound: Wonderful
Dietary supplements: Trailer
Deaf and Hearing-impaired Pleasant? YES; Subtitles: English (function only)
Packaging: One Blu-ray in Hold case
Reviewed: August 20, 2019

Last product for this evaluate was offered free by The Warner Archive Collection.


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