Directed by Robin Hardy
Review based upon the Anchor Bay DVD set
“The Wicker Man” may be an obscure film to many, but fans hold it with such conviction that it is as remembered and cherished with an immense passion. It is an interesting hybrid of horror, thriller, and even musical - but with a powerful religious message that is delivered in such a way as to hit home very hard indeed in the final act. “The Wicker Man” is an odd gem, and one which is intrinsically a product of 1970s British cinema.
To many, the film itself is merely one aspect of the legacy that “The Wicker Man” has created. The turbulent production background, and ultimate destruction of the finished product is almost as thrilling as the movie itself. This incredible drama was a result of the film being completed by British Lion at the moment when the company was both changing executives and losing money. The project was started by Managing Director Peter Snell, who was forced to resign from the company halfway through shooting. His successor, Michael Deeley, allowed the movie to complete filming, but was apparently horrified by the end result. Deeley was quoted by star Christopher Lee as calling the film “one of the ten worst films I have ever seen”. The movie was then drastically re-cut, with the 102 minute running time being slashed by almost 20 minutes. On release initially, the critics mainly mauled the film, with The Times calling it “an erratic, and ultimately forgettable little chiller”.
So, why is “The Wicker Man” so highly regarded almost thirty years after it was completed? Part of the reason lies with the cast, and especially Christopher Lee, who has always said that the film was one of the highlights of his career. Considering that Lee’s work to date consists of such cinematic milestones as “Dracula” (1958), and “The Lord Of The Rings” (2001-2003), that in itself is no mean feat. The other reason behind the rise in popularity and appreciation of “The Wicker Man” appears to be it’s uniqueness – it could be seen as a movie ahead of it’s time, which is only now beginning to be understood.
The uniqueness shines through in some scenes, which appear not only to be a product of the 1970s, but also are downright surreal in tone. One excellent example is t
he one that occurs during Howie’s first night on Summerisle, where the drunkards at the local inn gather in harmony and sing a song entitled “The Landlord’s Daughter”. The song is basically a melodic listing of the reasons for their attraction to Willow, the landlord’s daughter, told in explicit detail. The number that follows it further outdoes the strangeness of this song; where Howie is awakened by Willow thumping on the wall whilst engaging in a perverted sing-a-long, in which she punctuates the melody with a naked and oddly choreographed dance. Of course, the purpose of this scene is to add depth to the paganism that is the ultimate driving force of the plot. But, it certainly would look out of place in any other movie. The fact that “The Wicker Man” can get away with this is perhaps a testament to the atmosphere it creates.At the heart of the film are Sergeant Howie - an archetype of close-minded religion and the responsibility of the law, and the islanders - a freethinking legion of nouveau hippies whose religious beliefs, though extreme, are perhaps more tolerant than those offered in established religion. This pairing is at conflict throughout the film, and though it is not by nature a religious commentary, “The Wicker Man” raises questions and encourages the audience to apply their own beliefs. It asks the audience to think, and perhaps it is this that sets it apart from other horror films of the period. It has strong imagery, but none of the intense and visceral content that can be found in “The Texas Chainsaw Massacre” (1974), and “The Exorcist” (1973). Instead, it is a slow-burning piece, which uses religion as a means to pose questions for which the audience has to look within themselves to find the answers.
The film is constructed towards a climax, and the ending is genuinely chilling despite its possible predictability. The island’s belief in pagan symbols and sacrifice come full circle as the film’s namesake is revealed, and in a wonderful piece of cinematography, the sun god Nuada shines down on the edifice of the Wicker Man as the final moments slide away.
When considering the leading cast, Edward Woodward took a very brave step in choosing to make this film as hi
s first break onto the big screen after his massive TV success in the UK. His performance is utterly believable, and pivotal to the denouement having maximum impact. Woodward succeeds admirably, and it is doubtful that anyone else could have carried the piece with such conviction. Consider the final moments when Howie is reciting “The Lord is my Shepherd”, and it is impossible to imagine another actor in his place. Christopher Lee as Lord Summerisle clearly relishes the role, and carries his speeches with the haughtiness and superiority that the piece requires. Lee believed in the project from start to finish, and it shows in his performance.There are few entries in Seventies horror cinema in which the effort, ideas, and the execution transcend the implications of cheap, genre filmmaking. Very few of them are as thematically appealing as “The Wicker Man”. As a horror film it is intelligent, and even the musical elements contain immense camp value. Of course, the full 102 minute version which has recently become available for the first time is the definitive version, and should always be viewed in preference to the hacked 86 minute cut. Not only does the longer edit contain more characterisation, but also it serves to add more depth to the overall air of unease that the film creates so brilliantly.
10 out of 10
A true masterpiece of horror cinema... slightly dated now perhaps, but a truly unique work that creates an atmosphere so many have tried to match
