A woman (Jan White) feels kept down by her husband, and pursues witchcraft as a hobby. That has some negative consequences, as well as her new interest in adultery.
This is the first film solely written by George A. Romero and a break from most of the Latent Image crew who had made "Night of the Living Dead". Some familiar names return. Bill Hinzman appears as "the intruder" and did some lighting and photography. Master bamboo flutist Steve Gorn returns as composer. Gary Streiner, who did sound on "Night" and "Vanilla", is now a producer. And actors Robert Trow and Raymond Laine from "Vanilla" are back. Outside of the two Romero films, Trow is best known for appearing in 266(!) episodes of "Mister Rogers' Neighborhood".
The opening scene features a woman being swatted by newspaper, slapped by tree branches, and dragged on a leash into a kennel. It is very artistic, and shows early on why Hollywood Reporter called the film "a nightmarish vision of female oppression." Let us put the film in its historical context. Wicca and neopaganism began in England thanks to Gerald Gardner but really took off in America around 1970 thanks to Paul Huson's book "Mastering Witchcraft". This coincides with the rise of "second wave" feminism lead by Betty Friedan and Gloria Steinem. Though the themes today (2017) may seem quaint, they were hot topics in 1973.
Mike Mayo gives the film a solid three out of four, the most complimentary review I am aware of. Yet, his write-up raises questions of his sincerity. He says the film "had more social relevance than it does now", is "too-talky" and is "not nearly as suspenseful or engrossing" as "Martin" overall. This gives the impression he wants to like it as a Romero fan, but cannot fully commit himself. Had Mayo watched it, not knowing Romero was involved, would he have been so rewarding?
The film's original title "Jack's Wife" succinctly captured the essence of the film, being about a woman who was not seen as her own person. The later and more common title is "Season the Witch", which plays up the very limited horror aspect and probably disappointed many expecting a supernatural tale. (I originally saw it at a horror marathon, which was unfortunate.) Yet another title was "Hungry Wives", suggesting a sexploitation film, which this absolutely is not.
The movie was originally released by Jack Harris (best known for "The Blob"), shortly after Harris distributed John Landis' debut "Schlock". Harris also distributed John Carpenter's debut "Dark Star" (1974). While his creation of "The Blob" is appropriately celebrated, perhaps Harris deserves even more praise for aiding the careers of not one, but three masters of horror!
The Arrow Blu-ray provides multiple cuts of the film, but its best new feature is an hour-long conversation between Romero and Guillermo del Toro. Of course, this dialogue is not strictly about "Season of the Witch". But that is what makes it so great, because few filmmakers have the love for genre cinema that del Toro goes, and he can get to the heart of Romero's visions.
This is the first film solely written by George A. Romero and a break from most of the Latent Image crew who had made "Night of the Living Dead". Some familiar names return. Bill Hinzman appears as "the intruder" and did some lighting and photography. Master bamboo flutist Steve Gorn returns as composer. Gary Streiner, who did sound on "Night" and "Vanilla", is now a producer. And actors Robert Trow and Raymond Laine from "Vanilla" are back. Outside of the two Romero films, Trow is best known for appearing in 266(!) episodes of "Mister Rogers' Neighborhood".
The opening scene features a woman being swatted by newspaper, slapped by tree branches, and dragged on a leash into a kennel. It is very artistic, and shows early on why Hollywood Reporter called the film "a nightmarish vision of female oppression." Let us put the film in its historical context. Wicca and neopaganism began in England thanks to Gerald Gardner but really took off in America around 1970 thanks to Paul Huson's book "Mastering Witchcraft". This coincides with the rise of "second wave" feminism lead by Betty Friedan and Gloria Steinem. Though the themes today (2017) may seem quaint, they were hot topics in 1973.
Mike Mayo gives the film a solid three out of four, the most complimentary review I am aware of. Yet, his write-up raises questions of his sincerity. He says the film "had more social relevance than it does now", is "too-talky" and is "not nearly as suspenseful or engrossing" as "Martin" overall. This gives the impression he wants to like it as a Romero fan, but cannot fully commit himself. Had Mayo watched it, not knowing Romero was involved, would he have been so rewarding?
The film's original title "Jack's Wife" succinctly captured the essence of the film, being about a woman who was not seen as her own person. The later and more common title is "Season the Witch", which plays up the very limited horror aspect and probably disappointed many expecting a supernatural tale. (I originally saw it at a horror marathon, which was unfortunate.) Yet another title was "Hungry Wives", suggesting a sexploitation film, which this absolutely is not.
The movie was originally released by Jack Harris (best known for "The Blob"), shortly after Harris distributed John Landis' debut "Schlock". Harris also distributed John Carpenter's debut "Dark Star" (1974). While his creation of "The Blob" is appropriately celebrated, perhaps Harris deserves even more praise for aiding the careers of not one, but three masters of horror!
The Arrow Blu-ray provides multiple cuts of the film, but its best new feature is an hour-long conversation between Romero and Guillermo del Toro. Of course, this dialogue is not strictly about "Season of the Witch". But that is what makes it so great, because few filmmakers have the love for genre cinema that del Toro goes, and he can get to the heart of Romero's visions.