Halloween III: Season of the Witch (1983)
Halloween III: Season of the Witch is a film that often provokes a strong reaction from genre fans. This is mainly due to it not having any direct connection to the previous two films. The absence of Michael Myers in such a franchise was a serious mistake and the subsequent poor box office returns endorsed this. Yet if this film had been released as a separate product it may not have performed so poorly. After re-examining Halloween III: Season of the Witch there are many aspects of interest. Despite a troubled production, the film is an intriguing anomaly that tried to be different during a decade where the established horror formula was “stalk n' slash”. It does have a very bleak tone and some consider it to be mean spirited as the cast are killed off one by one. Perhaps theme of child sacrifice caused audiences to balk?
Halloween III: Season of the Witch is a film that often provokes a strong reaction from genre fans. This is mainly due to it not having any direct connection to the previous two films. The absence of Michael Myers in such a franchise was a serious mistake and the subsequent poor box office returns endorsed this. Yet if this film had been released as a separate product it may not have performed so poorly. After re-examining Halloween III: Season of the Witch there are many aspects of interest. Despite a troubled production, the film is an intriguing anomaly that tried to be different during a decade where the established horror formula was “stalk n' slash”. It does have a very bleak tone and some consider it to be mean spirited as the cast are killed off one by one. Perhaps theme of child sacrifice caused audiences to balk?
A mysterious patient, Harry Grimbridge (Al Berry) is brought to hospital late at night, after being pursued by several besuited assassins. He is subsequently murdered in his bed and his assassin then kills himself. Dr. Dan Challis (Tom Atkins) is shocked by these events and struggles to comfort Ellie Grimbridge (Stacey Nelkin), the victims daughter who arrives at the hospital seeking answers about her father's death. The pair decide to investigate matters and the trail leads to the town of Santa Mira. Harry, who ran a toy shop, had travelled to the town to collect a shipment of Halloween masks from Silver Shamrock Novelties. On arrival Dan and Ellie find the town dominated by the presence of the Silver Shamrock company and its charismatic owner Conal Cochran (Dan O'Herlihy). Is Cochran connected to the death of Ellie's Father? Who are the mysterious mute assassins in grey suits that are pursue them?
John Carpenter, although only a producer on this film, was still heavily involved in the film’s development. Being a big fan of British writer Nigel Kneale, he commissioned him to write a screenplay. However the final draft did not find favour with financier Dino De Laurentiis, who insisted in the inclusion of more graphic death scenes to placate the target demographic. Kneale subsequently had his name removed from the credits but most of his original material remained in the redrafted screenplay, such as his re-occurring theme of reconciling science and witchcraft. It is paradoxical how Cochran uses contemporary technology to perpetrate an act of pagan sacrifice. The film also draws heavily on the 1956 genre classic Invasion of the Bodysnatchers, with its themes of humans being replaced by a sinister intelligence. The Silver Shamrock factory is set in the fictitious town of Santa Mira, which also features in Don Siegel's movie.
As for the scenes of violence, they are themselves quite unusual. Although gory to a degree, they are also a little surreal. Veteran make-up artist Tom Burman creates several bizarre deaths that reflect the odd nature of the plot. A man is murdered in his hospital bed by having his skull broken. Another has his head pulled off. But the most effective are those caused by the booby trapped Halloween masks. The demise of a particularly unpleasant small boy, involving cockroaches and snakes is both ghoulish and satisfying. The atmosphere and tone of the film is bolstered by an outstandingly minimalist score by John Carpenter and Alan Howarth. There is also an excellent faux commercial for Silver Shamrock masks which is both infuriating and an earworm.
The film also benefits from earnest performance from its main cast. Due to budgetary reasons the leads were character actors and not box office stars. Genre favourite Atkins acquits himself well as the world weary Doctor. But it is Dan O'Herlihy who excels as the sinister head of Silver Shamrock. His soft voice and measured delivery adds weight to the plot and the motives of a man who wishes to punish a nation through the death of it children. He delivers a singularly sinister monologue at the film’s denouement. Director Tommy Lee Wallace (who also directed Halloween II) maintains the tension and imbues the town of Santa Mira with a unsettling quality. He also handles the blending of pagan themes with modern technology well.
Despite its initial failure, over the recent years Halloween III: Season of the Witch has been re-appraised by critics and developed the inevitable cult following. It is seen as a social comment on consumerism and commercialisation. It also explores the roots of a Pagan festival that has now become an integral part of US culture. The bleak ending that was somewhat unpalatable 25 years ago, is now credible to a postmodern audience. John Carpenter was happy to lay Michael Meyers to rest permanently after Halloween II and wanted the subsequent films in the series to be wider in vision, dealing each time with a different supernatural theme. Such a bold idea was not endearing to the prevailing studio mentality of the time. Thus after the box office failure of Halloween III: Season of the Witch, the overall concept was side-lined and "the shape" subsequently resurrected in future sequels.
Season of the Witch (2011)
After years of war, two 14th century Crusaders (Nicholas Cage and Ron Perlman) returns to a homeland devastated by the Black Plague. The church, deeming sorcery to be the source of the outbreak, tasks the knights to transport an accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence. A priest, a grieving knight, a disgraced trader and an altar boy who dreams of becoming a knight, join the mission across a hostile wilderness. The group soon finds itself at odds with each other over the fate of the girl. When the embattled party finally arrives at the abbey, a horrific discovery jeopardises the knight's pledge to ensure the girl fair treatment, pitting them against an inexplicably powerful and destructive force. Will good or evil triumph?
After years of war, two 14th century Crusaders (Nicholas Cage and Ron Perlman) returns to a homeland devastated by the Black Plague. The church, deeming sorcery to be the source of the outbreak, tasks the knights to transport an accused witch (Claire Foy) to a remote abbey, where monks will perform a ritual in hopes of ending the pestilence. A priest, a grieving knight, a disgraced trader and an altar boy who dreams of becoming a knight, join the mission across a hostile wilderness. The group soon finds itself at odds with each other over the fate of the girl. When the embattled party finally arrives at the abbey, a horrific discovery jeopardises the knight's pledge to ensure the girl fair treatment, pitting them against an inexplicably powerful and destructive force. Will good or evil triumph?
Season of The Witch was submitted to the MPAA for rating twice, prior to release, as the studio tried to secure a “suitable” rating for the movie. The film itself spent an entire year between completion of the production and its theatrical release as various parties tinkered with its final edit. The script had been in development since 2000 and had been passed from both MGM and Columbia pictures before finally being produced by Relatively Media. Despite some striking location work around Eastern Europe, suitable castles and associated building from the required period could not be found. Thus, a great deal of material had to be shot against green screens and added digitally in post-production. However, budgetary restraints had an impact upon this work and its quality. All of these factors are usually indicative of a troubled production, resulting in a flawed film. Sadly, Season of the Witch very much fits that bill.
Season of The Witch is glaringly narratively and tonally inconsistent. The characters are insufficiently developed as are the themes. The story is very derivative and the content conspicuously edited to secure the commercially viable PG-13/12A rating. However, smitten by a fit of unusual generosity, I have to admit that I did enjoy the film. This is mainly because of Ron Pearlman's presence and a handsome production design that is very reminiscent of Hammer studios work and Roger Corman's Poe adaptations. Like 2012 release of Solomon Kane, the film manages to look a lot more sumptuous than it actually is due to its Hungarian and Croatian locations. Furthermore, although the action scenes and set pieces have been very tightly edited for rating reasons, they are still well conceived due to the presence of veteran stunt co-ordinator Vic Armstrong.
The story of two Teutonic Knights escorting a suspected witch to a remote castle for trial, through a world devastated by the Black Death, often comes across as pythonesque. This is mainly due to the similarities in the depiction of the Medieval world. I was also reminded of Terry Gilliam’s Jabberwocky that has a similar grimy depiction of the time. The story is episodic and offers very few surprises. It is entertaining in a very undemanding way and the night attack by wolves in the fog bound forest, is actually well executed. There are even some occasional nods to Ingmar Berman which seem curiously hubristic. However, overall Season of The Witch is an inconsistent viewing experience and a film that falls between several stools. It doesn’t seem to find a level that it is comfortable with, very much like director Dominic Sena's previous film Whiteout. Therefore, only watch is you are feeling tolerant, forgiving and are the most ardent Nicholas Cage fan.