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The Witch Who Came from the Sea

  • 1976
  • R
  • 1h 23min
VALUTAZIONE IMDb
5,7/10
2714
LA TUA VALUTAZIONE
The Witch Who Came from the Sea (1976)
The Witch Who Came From The Sea: Don't Worry
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Guarda The Witch Who Came From The Sea: Don't Worry
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DramaHorrorThriller

Aggiungi una trama nella tua linguaA disturbed woman is haunted by memories of childhood abuse, which culminates in a murder spree.A disturbed woman is haunted by memories of childhood abuse, which culminates in a murder spree.A disturbed woman is haunted by memories of childhood abuse, which culminates in a murder spree.

  • Regia
    • Matt Cimber
  • Sceneggiatura
    • Robert Thom
  • Star
    • Millie Perkins
    • Lonny Chapman
    • Vanessa Brown
  • Vedi le informazioni sulla produzione su IMDbPro
  • VALUTAZIONE IMDb
    5,7/10
    2714
    LA TUA VALUTAZIONE
    • Regia
      • Matt Cimber
    • Sceneggiatura
      • Robert Thom
    • Star
      • Millie Perkins
      • Lonny Chapman
      • Vanessa Brown
    • 63Recensioni degli utenti
    • 60Recensioni della critica
  • Vedi le informazioni sulla produzione su IMDbPro
  • Video2

    Trailer
    Trailer 2:04
    Trailer
    The Witch Who Came From The Sea: Don't Worry
    Clip 0:46
    The Witch Who Came From The Sea: Don't Worry
    The Witch Who Came From The Sea: Don't Worry
    Clip 0:46
    The Witch Who Came From The Sea: Don't Worry

    Foto65

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    Interpreti principali20

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    Millie Perkins
    Millie Perkins
    • Molly
    Lonny Chapman
    Lonny Chapman
    • Long John
    Vanessa Brown
    Vanessa Brown
    • Cathy
    Peggy Feury
    • Doris
    Jean Pierre Camps
    • Tadd
    Mark Livingston
    • Tripoli
    Rick Jason
    Rick Jason
    • Billy Batt
    Stafford Morgan
    Stafford Morgan
    • Alexander McPeak
    Richard Kennedy
    Richard Kennedy
    • Detective Beardsley
    George 'Buck' Flower
    George 'Buck' Flower
    • Detective Stone
    Roberta Collins
    Roberta Collins
    • Clarissa
    Stan Ross
    Stan Ross
    • Jack Dracula
    Lynne Guthrie
    • Carol
    Barry Cooper
    • Newcomer
    Gene Rutherford
    Gene Rutherford
    • Sam Walters
    Jim Sims
    • Austin Slade
    Sam Chu Lin
    • Newscaster
    Anita Franklin
    • T.V. Commercial Girl
    • Regia
      • Matt Cimber
    • Sceneggiatura
      • Robert Thom
    • Tutti gli interpreti e le troupe
    • Produzione, botteghino e altro su IMDbPro

    Recensioni degli utenti63

    5,72.7K
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    Recensioni in evidenza

    8swnthom

    Ah, the 70's

    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.
    8pearceduncan

    Unique, surreal and disturbing, but exploitative

    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.
    6lastliberal-853-253708

    I guess I did kill him.

    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.
    FilmFlaneur

    Good low budget oddity, hard to find these days

    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.
    6drownsoda90

    Gritty, amateurish character study/psychodrama

    "The Witch Who Came from the Sea" follows Molly, a woman living with her sister in Los Angeles, suffering from severe psychological trauma resulting from her father's incestuous relationship with her. As a result, she snaps and embarks on a killing and castration spree.

    While its title is literally misleading (but metaphorically apt), "The Witch Who Came from the Sea" is an oddball psychological horror film that is not so much scary as it is sad. The film has a downbeat tone that is remarkable from the first scenes, and it chugs along at this languid, downtempo pace for much of its runtime. While some descriptions make it sound like a serial killer film, it's in actuality a character study of someone living with severe PTSD stemming from child sex abuse.

    The content here is disturbing in nature, though the screenplay feels lopsided in the sense that Molly's pathology registers as a bit too on-the-nose. Where the film excels is in its visuals, and the cinematography captures a gothic sort of 1970s California, particularly the trash-ridden, empty streets of Venice Beach. Millie Perkins is decent as the lead, Molly, though none of the performances here are particularly great. There are odd moments of humor brought by the likes of Peggy Feury that are off-center but amusing. The film's conclusion is unsurprisingly dour, but thematically fitting. Though a bit of a shallow character study, "The Witch Who Came from the Sea" has some startling visuals and is reasonably well-made given its obvious budget limitations. Worthwhile for fans of gritty psychological dramas, particularly of this era. 6/10.

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    • Quiz
      George "Buck" Flower not only acts in this movie as one of the homicide detectives investigating the murders committed by Millie Perkins, but also served as the film's casting director. In fact, Flower cast his own daughter Verkina to play young Molly in the disturbing flashback sequences featured in the movie.
    • Citazioni

      Molly: Why don't you act like a man and go hide in the closet, cowboy?

    • Connessioni
      Featured in A Maiden's Voyage (2004)
    • Colonne sonore
      Sailing, Sailing
      (uncredited)

      Written by Godfrey Marks

      Performed by Millie Perkins

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    Dettagli

    Modifica
    • Data di uscita
      • febbraio 1976 (Stati Uniti)
    • Paese di origine
      • Stati Uniti
    • Lingua
      • Inglese
    • Celebre anche come
      • Ведьма, явившаяся из моря
    • Luoghi delle riprese
      • Santa Monica Pier, Santa Monica, California, Stati Uniti(Location of the 'Boathouse' Restaurant as well as Long John's apartment. Specifically 301 Santa Monica Pier Building 9.)
    • Vedi altri crediti dell’azienda su IMDbPro

    Specifiche tecniche

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    • Tempo di esecuzione
      1 ora 23 minuti
    • Colore
      • Color
    • Mix di suoni
      • Mono
    • Proporzioni
      • 2.35 : 1

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