The Witch Who Came from the Sea

This movie can come from no decade but. There is very little action and some weird trippy sequences in it. I will not rehash the plot but I will say that this movie is worth seeing. If you are tired of the bland boring thriller/chiller pieces that are being made today, this is definitely worth renting. Subversive Video has released a cleaned up version on DVD so it is more readily available than in the past. Of note in the film is Millie Perkins, of Diary of Anne Frank fame. She plays the clichéd role of psycho on the verge but she does it with such muted tones and acting that makes you forget how many times the role of Molly has been rehashed in the horror genre.

Also, I would say a word on the production value. While other reviews have noted its shodiness. Let me just remind you this movie was made in 1976. As anyone who has seen 70's movies are aware, a lot of them look like they were made for nothing.

This one's a real weirdie. It's unique, surreal and genuinely disturbing, and Millie Perkins gives a memorably intense and bizarre performance as Molly. It goes out of its way to shock the viewer, and largely succeeds. It also features the single most upsetting childhood trauma flashback I've ever seen.

It's probably too much for most people's tastes, but if you enjoy flawed one-of-a-kind low budget '70s horror, it's worth a look if you can find it. I am a bit dubious about the exploitative way it uses the subject of child abuse device to shock and disturb the viewer, so be warned.

A real oddity, seemingly made somewhat earlier than its 1976 release date would suggest. In some ways a classic exploitation but this has more serious aspirations and a decent script. It also looks good, being shot by the cameraman who would next move on to Carpenter's Halloween. The strange film is also given much credence thanks to the beguiling performance by Millie Perkins, who manages to infuse the proceedings with a serious and likeable nature, almost despite what we know is going on. The eventual explicit revelation of the traumatic childhood event that has been flagged throughout the movie is still pretty awful even if we did see it coming. There is no witch here, as such, it is not really a horror film despite horrors such as the aforementioned childhood incident and multiple killings but constantly engaging with all the characters adding much to the proceedings even if they are already amply presided over by a very fine performance from Perkins.

A weird and obscure little film from exploitation director Cimber, The Witch Who Came From The Sea gained a degree of notoriety some years ago when it appeared on the UK's controversial 'video nasties' list. With its prominent themes of child abuse and castration that's not surprising, even though in the event much of the objectionable material is fairly low-key. Mollie Perkins plays Millie, whose treatment at the hands of her father when young has left her emotionally scarred, even though she half-idolises his memory. At the time the film opens she is supporting two children, works in an "advice centre" (a bar) and is in an off/on relationship with the owner, Long John (Lonny Chapman). Soon two footballers are castrated and killed, while Millie enters into a obsessive relationship with McPeak (Stafford Morgan), a film star appearing in a frequently run shaving commercial on TV.

Cimber's film is focussed on what is presumably Millie's downward spiral of mental collapse, and this is its biggest weakness. Haunted by a series of painful flashbacks (in which it becomes more and more clear exactly what was the nature of her traumatic childhood experience), Millie's inner torment is otherwise rarely articulated to the audience, although Perkins does her best to project some sympathy into the character. These days the two castration scenes, fake blood, cutaways (no pun intended) and all, are far less provoking to an audience than those of child abuse. In a modern production, typically issues would be 'dealt with' from a psychological standpoint. She remains curiously mute however, and we miss the catharsis. "Millie's the captain of her own ship," says Long John, who recognises this distant quality of his employee/lover - one who, even in bed with him, cannot confide her sexual history. But while keeping her own confidence may suggest inner strength, this woman who 'looks liberated' is ultimately as much a mystery as when we first see her.

Without any internal keys to Millie's psychology, apart from her murderous compulsions, the audience is forced to look for answers elsewhere. Fortunately the film is full of enough symbolism, Freudian and otherwise to give ample hints, considerably enriching the narrative and providing its principal interest. 'The witch' in question does not refer to supposed supernatural skills of the heroine. Millie is human and emotionally damaged. Much is suggested when she admires a reproduction hanging on the wall of a lecherous male admirer. Botticelli's well-known Birth of Venus features a female figure standing on a shell, incidentally reminiscent of the mermaid tattooed on her father's chest. (Millie shortly thereafter has a copy done on her belly.) Venus' "father was a god" we learn, and "they cut off his balls, the sea got knocked up, and Venus was the kid." The Botticelli neatly encapsulates the themes of consummation and emasculation running through the film. It's the tension between the two that ultimately wrecks Millie, ruinously torn between admiration of her father and knowledge of what men can do.

Castration of course is an obvious form of unmanning, as demonstrated by Millie's treatment of the footballers, then McPeak (the second instance achieved, remarkably, through the misuse of a safety razor). Her first lover, the aptly named 'Long John', has a beard. He and it remain thankfully intact at the end of the film. In Cimber's film, shaving is associated explicitly both with sex ("Someday I'd love to shave you.") as well as with explicit genital injury. Like a peculiar Delilah to various Samsons, Millie quickly reduces men by her barbering attentions, destroying their vitality, and thence their threat to her. Her fantasises run along the same lines from the very first. The viewer initially sees Millie on the beach, reassuring her children about their grandfather's heroic status, while absent-mindedly staring at bodybuilders working out - in effect going from groyne to groin. We assume that her fixation on their bulging swim shorts is straightforwardly sexual. Only later do we realise that crotches are targets in more ways than one.

All of the performances are adequate, though none are outstanding. In the central role Mollie Perkins, despite the aforementioned drawbacks of her part, gives a reasonable impression of a divided and damaged personality, emotionally numbed by her own demons. During one key scene, the murder of the football players that features drug abuse, bondage then castration, she looks remarkably unfazed by the material - assisted by the nightmarish feel created by Cimber's direction. Perkins had come to this film after appearing in some Monte Hellman films, notably his outstanding existential westerns Ride The Whirlwind and The Shooting (both 1965), and perhaps felt that more such off-the-wall material suited her style. Certainly after this period in her career she was unable to find such striking material again. (Cimber's next film was with Orson Welles in the Pia Zadora turkey Butterfly, 1982)

The Witch Who Came From The Sea has a quiet ending, but one that is nevertheless apt and poetically very effective. Scriptwriter Robert Thom (whose previous two credits were for the classic B-movies Crazy Mama and Death Race 2000, both in the previous year) builds on the seafaring imagery already featured throughout the film to send his heroine on a last voyage of her own. Millie's departure, in the bosom of her family and friends, is far away from the Grand Guignol conclusion common to the genre. It is as if formal justice has no part to play in a sad tale, which revolves almost entirely around the wounding of the psyche, and in line with this, the police investigation during the film is remarkably muted, and un-cynical. Remarkably hard to find these days, presumably because of its downbeat subject matter, this is a film that still holds up well. A stronger supporting cast would have made it into a mini-classic. As it is, it still serves as a reminder of the imagination possible from a low budget film, a novelty from a period rich in bargain basement experiment.

Restored classic; one of the infamous video nasties banned in Britain.

Those looking for the juicy parts that were excised by the censors will be disappointed, as the stuff, even the castration with a razor blade, is tame by today's standards.

The film will be a little talkie as it is a tale of an abused child's descent into madness.

In a constant state of inebriation, Molly (Millie Perkins) suffers numerous flashbacks of abuse and pain.

Director Matt Cimber achieved his greatest status a couple of films later with three Razzie nominations for Butterfly with Pia Zadora.