In the world of '60s British horror cinema, few films were as gritty, downbeat, disturbing or downright violent (not to mention mean-spirited) as this one. In fact, none were. WITCHFINDER GENERAL is a landmark in the history of cinema, and along with NIGHT OF THE LIVING DEAD, it helped to usher in the new wave of ultra-violent '70s gore films where a happy ending could no longer be guaranteed. It's a brilliant film but also a depressing one to watch; nobody will come out of this with smiles on their faces (unless they're sociopaths), instead a feeling of cold sickness (your mileage may vary) similar to the gut punch of THE EXORCIST. I love this movie because of the way it paints the English countryside; an idyllic and beautiful rural landscape, packed with lush foliage and picturesque villages, accompanied by the famously lyrical 'Greensleeves' type music. Yet into this Eden comes death; painful, protracted death. It's a film which focuses on death. Death by drowning, burning, hanging. and many other varieties.
One of life's ironies is that director Michael Reeves himself died after the production of this, his last film. His career had been interesting but short-lived, but at least this and THE SORCERERS are worth seeing. Vincent Price dominates the cast as the cold-hearted Matthew Hopkins, a man you hate yet also one of his more human portrayals of a monster; there's no over-acting here, just a realistic persona of a man without a conscience and out for his own ends. Supporting him are the gleefully sadistic John (believed to be a woman in historical stories) who enjoys 'pricking witches' and Hilary Dwyer as the damsel-in-distress who undergoes rape and torture. Ian Ogilvy is surprisingly deep as the Roundhead who finds himself pushed over the edge by the murderous antics. There's just enough time for Patrick Wymark to show a convincing cameo as Cromwell himself and Rupert Davies to undergo sadism as a priest accused of conspiring with devils.
Comment has been made that the structure of this film is similar to the classic "revenge western", with Ogilvy riding through a rugged and wild landscape in search of his wife's abuser. That may be so, but the film is still unpredictable throughout, right down to the manic climax. It's an affecting piece of work that rewards close viewing and which still packs the same impact today as it did thirty years ago. Horror fans should buy immediately. Oh, and watch out for a cameo from Steptoe himself, Wilford Brambell!
One of life's ironies is that director Michael Reeves himself died after the production of this, his last film. His career had been interesting but short-lived, but at least this and THE SORCERERS are worth seeing. Vincent Price dominates the cast as the cold-hearted Matthew Hopkins, a man you hate yet also one of his more human portrayals of a monster; there's no over-acting here, just a realistic persona of a man without a conscience and out for his own ends. Supporting him are the gleefully sadistic John (believed to be a woman in historical stories) who enjoys 'pricking witches' and Hilary Dwyer as the damsel-in-distress who undergoes rape and torture. Ian Ogilvy is surprisingly deep as the Roundhead who finds himself pushed over the edge by the murderous antics. There's just enough time for Patrick Wymark to show a convincing cameo as Cromwell himself and Rupert Davies to undergo sadism as a priest accused of conspiring with devils.
Comment has been made that the structure of this film is similar to the classic "revenge western", with Ogilvy riding through a rugged and wild landscape in search of his wife's abuser. That may be so, but the film is still unpredictable throughout, right down to the manic climax. It's an affecting piece of work that rewards close viewing and which still packs the same impact today as it did thirty years ago. Horror fans should buy immediately. Oh, and watch out for a cameo from Steptoe himself, Wilford Brambell!