Wicker Man. El hombre de mimbre

Years before Edward Woodward gained a measure of fame in the States as TV's Equalizer, he portrayed a dogged police detective poking around a remote Scottish island in search of the truth about a missing girl in Robin Hardy's The Wicker Man. His performance here is easily one of his best -- in order for the unbelievable and unthinkable story to succeed, Woodward must convince us that all of the unnerving events that take place throughout the movie are entirely plausible. He certainly convinced me, and I have never been able to forget the traumatic, harrowing conclusion of the film. Christopher Lee, Britt Ekland, Ingrid Pitt and the rest of the cast provide perfect counterpoint to Woodward's analytical outsider.

I've been fascinated by 'The Wicker Man' ever since I first saw it on TV in the late 1970s. I was very young then and probably didn't completely understand it, but I knew immediately that it was a very special movie, unlike anything I'd ever seen before. Twenty five years, and literally thousands of movies later, I think even more highly of it, especially now that I'm able to see the cut available on the 30th Anniversary DVD, which is over fifteen minutes longer than the version I already own on video. And, yes, 'The Wicker Man' is still unlike any other movie I've ever seen. I think this is mainly down to the brilliant script by Anthony Shaffer, who also wrote 'Sleuth' and Hitchcock's 'Frenzy'. There hasn't been anything made remotely like it since. I think it's the greatest British horror movie ever made, but the description "horror" only gives you half the story. It's also a thriller, a mystery, a Christian morality tale, and in a weird way, a musical. Christopher Lee regards it as the best movie he's ever been involved with, and describes it as one of the three or four greatest movies ever made in Britain, and I agree with him. Lee is very good in the movie as the enigmatic Lord Summerisle, but Edward Woodward is the real star. Woodward is best know for his TV work, as either 'Callan' or 'The Equalizer', depending what generation you're from, but he's superb as the deeply religious Sgt. Howie. Apparently Peter Cushing was initially suggested for the role, as was Michael York, but I really can't imagine either of then being half as good as Woodward is. The supporting cast are all superb - Diane Cilento as the school teacher, famous mime Lindsay Kemp as the publican, and especially Britt Ekland as the publican's daughter Willow. Ekland's seduction dance scene is the second most famous scene in the movie. She claims her speaking voice was dubbed throughout , director Robin Hardy disputes this, though her singing voice certainly was, and she used a (ahem) butt double. I also get a kick out of Aubrey Morris' graveyard scene. Morris is a great Brit character actor and was also in 'A Clockwork Orange', Hammer's 'Blood From The Mummy's Tomb' and sci fi trash classic 'Lifeforce'. Another Hammer alumni Ingrid Pitt ('The Vampire Lovers', 'Countess Dracula', etc.) is also in the cast as a librarian, but sadly in underused. Still, I'm glad she was involved. Inexplicably some people seem to hate this movie. I can't for the life of me understand why. It's utterly brilliant, utterly unique, and I never tire of watching it. If you've never seen it before I envy you! It's a cliche, but believe me, you have never seen anything like it before!

Drawn to a small Scottish Island by a letter pleading for help in finding a kidnapped girl, Sergeant Neil Howie realises that things are very different from life on the mainland. He begins to suspect that Rowan's disappearance may be part of a ritual to appease the nature gods worshipped on the island.

Well known now as one of the best British horror cult movies (one critic called it `the Citizen Kane of British horror') this film still stands today as new generations discover it's ending and fall in love with that. Sadly, most people know the ending before they have actually seen the film, which, in my mind, greatly takes away from the film's impact. For that reason I will make no mention of the ending's detail suffice to say that it works very well and actually raises the rest of the film.

The main body of the film sees Howie hunting for the missing girl and finding that things are not as simply as he originally thinks. The film comes across as a sort of spiritual musical for the most part and doesn't really bring out the tension or suspicions until near the end. The downside of this is that parts of the film appear slightly dull or meandering. I did get a little tired with the overuse of naturalist religious images but I accept that they were necessary for the story to be built.

The cast are very good. Lee was happy to do a film that brought him away from the camp Hammer horror mould into which he had been set. His Lord Summerisle is an image of cold, religious zealotry – terrifying in his portrayal of evil as part of `the right thing'. Woodward is also cast against type as he was a harder man in much of his work rather than a pure upright type. Ekland is good but is dubbed the whole way through the film to give her a Scottish accent in place of her own distinctive Swedish one. Of the cast it is Lee and Woodard who carry the film – their scenes together work well and they also carry the opposing moral weights of the story.

Overall this is a film that has had a reputation built on it's ending, and for that it is well deserved. However for the majority of the film the pacing is a little off and I felt that the songs slowed the film down too much. Overall the film works due to it's set-up and payoff, however it's delivery as a total film is not as good as it's reputation would have you believe.

The best British horror film ever made? Probably, yes. The best horror film ever made? No. The best occult thriller ever? Quite possibly.

The film was in part conceived as a vehicle for Christopher Lee to get away from his Hammer roles and give him a chance to demonstrate that, yes, he could actually act. Perversely, however, the film is in many ways homage to the films produced by the Hammer studio and is at the same time their antithesis.

Although Lee's Lord Summerisle was certainly a stronger character than his Hammer caricatures, and was suitably sincere and sinister, it was left to Edward Woodward's bumbling, pious Highland Police Sergeant to carry the film.

The rest of the cast are not as strong as the two central characters. Famously, it was always suggested that Britt Ekland's voice was overdubbed for the entire film. Robin Hardy has now denied that, stating that only her singing was dubbed. Even if the other actors' performances fail to match those of Woodward and Lee, somehow, it doesn't detract from the film.

Almost as famous as The Wicker Man itself are the stories surrounding the film. The version first released was almost completely butchered from an original, almost grandiose cut of 102 minutes to a more concise 87. Christopher Lee has always maintained that this was a crime against the greatest piece of art with which he had ever been involved. The original negatives were then accidentally thrown out!

When a fuller version finally surfaced in 2001, Lee's contentions were (at least in part) proved. The film was overall improved, and save for a couple of points of rather clumsy editing (the flashbacks Edward Woodward has as the penny drops spring to mind) and the pointless scenes before the flight to the island, it ran more smoothly and made more sense.

The film's greatest asset comes through in whichever version you actually see. The eerie sinister atmosphere never fails to be conveyed. Somehow, the fictitious Scottish island setting of Summerisle, which could so easily turn twee at any moment steers clear of the territory occupied by Brigadoon or the now happily deceased BBC TV drama 'Monarch of the Glen'.

The setting's remoteness, which could have been its worst enemy, is actually its greatest ally.

Perhaps the most interesting thing about the film, however, is the way that it steadfastly refuses to fit precisely into any genre. It is all at once a horror, a thriller and even a musical! Unbelievably, these things come together and fit into the film.

The music in The Wicker Man is unique, always adding just the right tone of eeriness or bawdiness to proceedings. A strange mix of elements including traditional folk music, it's as innovative and interesting as the soundtracks to Blade Runner, or The Virgin Suicides. The opening title sequence to the tune of Corn Rigs succeeds in transporting you with the plane over the remote coastal peninsulas and out into the Irish Sea towards Summerisle.

My only criticism of the film (and I really am nitpicking here) is the way it goes about establishing Sergeant Howie's Christianity. I can't conceive of the Howie character adhering to any religion other than one of the obscure forms of Presbyterian Protestantism practised in parts of the Highlands of Scotland. These scenes contain an apparent reverence for the sacraments that appears more Catholic in nature. This distinction in religious backgrounds is important to understanding Howie's attitudes. Nevertheless, I am truly nitpicking when I make this criticism!

But what ultimately makes this film is its ending. Without giving the game away for those who have not yet seen the film, it is inevitable, and yet wholly unexpected when it finally comes.

The Wicker Man would be a classic of its genre - if it had a genre. Instead, it has to be ranked as a classic film.

Many people have never seen or heard of this movie. The sad thing is that most young people now wouldn't appreciate its method of madness. The Wicker Man is almost like Psycho in the sense that it plays with the audiences' minds as well as the central character of the film. Its portrayal of the "pagan" religion is very impressive. Not some outrageous Hollywood devil-demon-blood-cult. The Wicker Man is a powerful, disturbing film and is one of the greatest films of the modern era. Christopher Lee is superb as well as Edward Woodward and the beautiful Britt Ekland. This movie is a true classic.