You might not have noticed, but one of the more critically acclaimed Horror movies that you didn’t hear much of not long ago hit DVD/Bluray release. The Witch, a 2016 debut from Robert Eggers, came at us from the Sundance Film Festival. And it came bookless – without fanfare, and without the promise of a sequel.
Yet in theaters and in DVD stores, the film has failed to ignite, the sales not so stellar.
Why do Critics and some fans give this film the highest of marks, when it does not resemble what we have come to expect from “successful” Horror films? And specifically, if you have watched it and did not feel affected, why not?
The answer would be because this film is not conventional Horror: it is about Horror – it is how Literary Horror looks when filmmakers understand the importance of punctuating their plots with something deeper than splashy effects. This is an important lesson for writers of Horror to understand…Because even if you choose to write in-genre and somewhat pulpy fiction, you need to grasp just how to utilize words, setting, symbols, and psychological effects and then be able to deftly select from a smorgasbord of actual history, folklore, superstition, and disease (social and literal) to better enhance your Horror – to layer it in the intent of getting under the skin like a parasite. It’s why films like Insidious (the first one) worked where the plot and acting was less dimensional – there it is the imagery and the suggestions it makes to our subconscious that delivers the shivers. But it is also why so much 1980’s Horror worked – why Classic Horror still works…
When these ingredients are properly combined, films like The Witch, The Exorcist and The Birds result. The reliance on jump scares may still be present, but they are to a much lesser degree – relying instead on the direct connection to the personal fears of human beings – whether it is the reality of the Devil and his army of demons, or a preternatural and unsettling unification of nature against humanity.
In The Witch, there are pretty strong references to fear, terror and real Horror the way most of us imagine it. Yet a large chunk of our audience – the Horror audience – was unimpressed. Indeed, the reviews aren’t particularly stellar – especially among movie-goers and subsequently – Horror fans: according to film review site Rotten Tomatoes, only 55% of viewers liked it. But 91% of Critics did. Why the point spread? And what does this say about our genre?
Tricks Are For Kids, Silly Rabbit
One of the first clues is the subtitle “A Folk Tale.” This film unabashedly shows its lineage to the viewer. For a murky, moody tale surrounding the Salem witch trials, it is not about the Salem witch trials – but the atmosphere created by the paranoia and dread such rampant fear invokes. Nested within rests the possibility, the suggestion that witchcraft and its consequences are real…the extension of which is the possibility that for the witch, perhaps not all is as it is promised.
We forget that the time period in question birthed the phrase “witch hunt” – a frenzied, irrational attack on anyone unfortunate enough to warrant a finger-point, whose differences or poor luck or gender was enough to justify their own persecution, torture, and death. But we also forget that tucked neatly away within our own religion are warnings about such fraternization with things unseen, with the dangers of envy, the vulnerability of being faithless.
We also forget that caught in the middle of such historical moments are real people, fearing that their own reactions or behaviors – however innocent –might be misinterpreted, costing whole families everything. We forget how easy it was to acquiesce to the momentum of the moment rather than take a risk, to see that the price of loyalty might well be one’s own life. We forget – especially today and in this country – what it is to fear the accusation of another that leads directly to death.
This is the importance of history, and of this specific time in our history. Because if we don’t see the mistakes that were made, we cannot prevent their cousins from rising as specters in the future.
And yet we have already managed to forget.
We make light of witches, even as our unpalatable history rests intact in Salem, Massachusetts. We amuse ourselves with the idea that our ancestors were simply superstitious, gullible, ignorant – not enlightened like ourselves.
We also make light of witchcraft, chiding ourselves into believing that if we play at it, we might be in charge of pre-selected consequences; we might dabble, be amazed, and then escape. Yet such is warned against in all religions; because in all religions are unwritten rules, forgotten wisdom, hidden Horrors. And the greatest Horror of all is not that one would be detected, persecuted and put to death… but that any such engagements might carry extenuating clauses in their contracts – ones that call for sacrifice of those loved other than the self.
But bad things, if they happen, happen to others. And we are all pretty certain sitting under our electric lights, that it is all superstition anyway.
Is that why we can sit disaffected by such a film as The Witch?
Indeed, much of our own religion today minimizes the possibility of the supernatural, the reality of a witch, or a ghost or a demon – all while handing us biblical verses mentioning those very possibilities. We have separated ourselves from those passages, determined to make them “symbolic” or “parables” or “metaphors.”
This film asks what if they are not? What if they are more – be it in the mind or the making?
Primitive humanity has always allowed for the unseen. And perhaps that is the problem: we seek to disavow our primal fears from our new, glossy, sciencey selves.
It’s why so many viewers might have missed the symbolism of the rabbit. To get it… to let ourselves be made very afraid we have to engage the folklore that might have its origins in very primitive truths.
While modern Horror fans are conditioned like Pavlov’s Dogs to quiver at vampire love and laugh at the startled scream after a scary face leaps from the dark of the theater, real terror – real fear – has more to do with things not-seen and things once seen that cannot be unseen…things that follow you because you saw them.
Tricks are for kids. The thing that wants your soul has something else in its toolbag. And it hides those things in the ordinary.
The Devil In the Details
If you’ve ever had a bout of the Serious Superstitious, you know that once that roller coaster ride gets started, danger is everywhere. This means that whether you are writing Horror or watching it on the Big Screen, it is important to provide layer after layer of detail. Accurate detail. The imagination cannot be allowed to escape, to dismiss the entity come for you because the scroll saw marks are on the wood of the clapboards.
This is how The Witch ensnares the wary, the skeptical, the Modern Human. The senses are so burdened by detail, by the weight of the period the viewer can almost smell the farm animals, the sweat, the decay of crops, the whiff of goat.
This is not the same dark forest of Hollywood, but the thick tangle of copse and ravine that cradle our folk and fairy lore – the ones that left their echoes outside our safe houses, in the skeletal, wet-black branch that claws at our windows in a storm, that still lives as a microcosm in our National Parks, and spills forth from children’s book illustrations. This is the dark wood our ancestors walked and succumbed to… a wood where death happens, and where a scream goes unheard and unanswered.
If you have never had the privilege of walking in a natural wood, you cannot imagine the depth of the darkness, the ease of disorientation, the uncanny sense of being watched… or stalked. Nor can you appreciate the stories of our folk heritage that came from such a place, the legitimacy that wilderness gives them.
Yet it is why we tore down the woods, killed the wolves and the bears, and planted our tame crops to feed our domesticated animals to ourselves. It’s how we beat The Witch… we tore down her temple.
We hung our pictures of blond Jesus, and separated ourselves from all but the most sacred of miracles, we philosophized Hell, and electrocuted our ghosts.
Yet. What if? What if even some part of the parable were true?
This is how we build great prose. This is how the Horror classics still terrify. When we read classic Horror, we allow ourselves to identify with and in a sense become the character whose very times and place are darker and more indistinct than our own. We suspend our belief and accept that of the character.
Modern presentation of character and scene are not the same. The character goes into a house…a modern house, just like all the others. There is no depth of description because it has become a stage set upon which the all-important action will occur. Yet it is anticipation of action that equates to dread. Those moments of anticipation are laced with the observations made by the mind – the analysis of shadow, the assessment of danger, the awareness of the rise of adrenaline, the shakiness in the legs and hands. All of that is dependent on detail.
So much detail. Like the tangles of knots in Celtic design meant to entrap the curiousity of fairies, rendering them harmless…the writer or filmmaker must overload the senses for mistakes and miscalculations to be made. We have to be ensnared. For that, we have to be persuaded to believe.
Bookless, She Came From the Woods to Terrify Us All
I find it wonderful that this film comes without a book or promise of sequel. It is a folktale – a warning, a tale of caution.
There is so much here for the writer to learn from another artist’s medium. This is storytelling. At no moment does the viewer not feel the connection being made to much older stories – actual accounts of such things being used by Eggers to fortify his imagery. In this film, the story is firmly rooted in Horror tradition, in folktale tradition, in fairytale tradition… yet it is no also-ran. It is an outgrowth, another link in the chain of evidence of such storytelling. It is a modern rendition of the folktale told using the harsh and vulnerable times of Colonial America to do so.
This is a lesson in how to build on tradition in the way the British have managed… This is what has been so lacking in contemporary American Horror.
If a writer is willing to really watch this film, there are important lessons here about story-telling and the best delivery method for Horror: the primal one already there, just under the skin, just under the surface – the one that creates surface tension like the skin on water.
This is not your ordinary night at the campfire, but the slowly unfolding tale of all that goes unforgivably wrong in human interaction and hides somewhere between deceit and coincidence. It is about failure, and desperation, and need for answers. It is about the things that hear you in your darkest moments and most hopeless prayers. It is about choices and faith and the relentless stalk of the predator upon the alleged innocent.
It is also about how we look at misfortune, how we primitively expect good behavior to be rewarded with all manner of blessings: how we seek to lay blame and accusation to rationalize and rebalance…Life. And then it is about how far we will all go to restore the balance – to re-conjure our own illusions about ourselves. How quickly do we turn… Such is the makings of some of the world’s greatest Literature – the rationalizations for so many oppressions and genocides and wars, for exploiting children and locking up women, for labelling people criminals and fanatics and less equal, for silencing whole generations and rewriting history… for hunting, trying, and burning witches.
That which does not or cannot conform is a threat to our theory of how the world works. Therein resides the deepest of human Horrors pressed out of the fabric of our secret fears.
Sometimes you have to sneak up on an audience, dragging them deep into the imagery of their own making… to hold up mirrors. This is why The Witch works for some and not others: some are afraid to see what else is reflected in the glass, to allow it out…
Critics love this film because so many layers offer so many interpretations of what the film symbolizes: the role of the nonexistent apple tree and its connection to original sin, the questions about faith and afterlife and coming of age of our nation, the nod to the dark ages of superstition coiled in the body of a recurring rabbit.
But there is so much more for the Horror fan, should he or she be willing to admit that the contemporary explosion in jump-scare Horror and found footage is a phase. Sure, such films are great for grabbing your significant other or reasonable facsimile in the theater; they are a summertime blast.
But do you really want to be scared? Exorcist-scared?
Then you’ll have to let go of the bar. Because Horror is bigger than flashlights under the chin.
Horror is about the Big Questions that unsettle us all.
You have to be willing to ask yourself just how much of the real world is real, and how much is illusion. You might even have to wonder about life and death and what comes after, that if it is anything at all, there may be players in the game you cannot see and whose motivations you cannot sate or outmaneuver.
You might have to admit that we live at the mercy of others and the luck of fate, that we may have success or long life because we managed to avoid the notice of Others.
They say that most Horror writers do not believe in what they write about. Perhaps this is so. But I tend to think that at our very primal core, none of us is sure. We live according to our theories, and sometimes we think that the supernatural is a fun place in which to scare ourselves silly.
But if you really want to scare your audience or be scared with the audience, you have to be willing to surrender your talismans and amulets. You have to turn out the lights. You have to go naked into the forest, to wonder if you would have the courage to accept a terrifying death and be lost to the world, or whether you would be just curious enough – just innocent enough – to stray into the darkness and expect to outsmart what lies coiled there.
In the film, the protagonist is asked if she would like “to see the world, to live life deliciously”… What is most telling is how the audience wants her to say yes…even having glimpsed the hellish truth of the misery that drives the witch of the wood just to keep young and potent. Is the protagonist Eve, or ourselves?
We are never told what conditions await the signatory of such a contract with the devil. We are too busy imagining what the offer means, too busy justifying the needs and subsequent choices being made. And in the end we are left to wonder about our own roles and choices in the world.
We are left to wonder what this creature is, this Witch.
Is she us – bargaining away the lives and fortunes of others so that we might live the way we believe we are entitled to?
Have we mistaken desire for need for so long that we don’t want to know what happened to the baby, and we don’t see the tears behind the laughter as our protagonist is lifted in flight?
Do we not care about the coworker we volunteered for lay-off, or the civilians caught in the crossfire of our wars? And isn’t that the Horror?
A lot has been said about The Witch as one of the genre’s best offerings in decades. A lot of Horror fans apparently don’t agree.
What I find unfortunate, is that this could mean we are not-seeing exactly what makes the Horror genre great: its ability to take the mundane, the everyday, the culture of contemporary society, and make it monstrous.
It could mean a percentage of Horror fans don’t want to think about why they might be afraid of something: they just want a good time.
Those are the Horror fans who will probably age out of the genre.
Because what stays with you in Horror is the stuff you can’t get out of your head…. And I’m not talking about old lady butts (of which I have one and it does indeed get scarier every day, but it is not Horror Mr. Shyamalan).
I am talking about the contracts we make every day with the devil… about that darker unknown that lurks in the woods of our minds, that fails us when we should have been better, and that eats our flesh and bargains our souls for a few more seconds of youth.
Horror is about the real world and the many things that crouch within it. It is about the long, patient stalk of a predator, and sometimes, about dying well. It is about what makes itself known when we are at our most vulnerable.
When it combines well with an audience educated in all of its nuances, such a story – whether on film or between two covers – is received like Hitchcock or Poe. But the catch is this: if we lose and continue to lose our connection to real life, then we are losing our Horror vocabulary… the most valuable tool in our storytelling arsenal.
As writers we are unable to convey what raises the goosebumps on our own skins, to name the Horror – to conjure it behind the eyes of our audience. Nothing resonates because nothing is there. This is exactly how we have come to this place in Horror where nothing – and I mean nothing – is scary enough.
Without a shared vocabulary that includes an understanding of humanity and a willingness to be led virtually anywhere in our torrid and shameful human history, film goers and book readers will simply not get it… and Horror will continue to descend into less-scary, less meaningful works that currently mirror the two dimensions of what we have come to see as “normal” – and worse – to consider as acceptable work in our genre.
If you want to write effective Horror, this means you will have to get your hands dirty. You need to crawl into that cave and summon spirits. You need accuracy and detail and the ability to overwhelm the needs of your audience. That means you need to understand where we come from – that very primal place where so many unlikeable things are possible, and happy endings do not come from stories with witches in them.
You need to story-tell. And that means first, you have to listen.
So pull up a bearskin. Study folklore and fairy tales. Tell ghost stories. Ponder those warnings in the Scriptures and other Holy Books. And watch The Witch… Let your mind slowly take in all in… And then watch it again.