Vashirdfel Simply A Masterpiece

Konterr Brilliant and touching

Dynamixor The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

TaryBiggBall It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Coventry In all honesty "Witchcraft" is just an average British horror accomplishment from the sixties, but I'm slightly biased and overenthusiastic because I'm a big admirer of the subject matter (witchery and family curses), the director (Don Sharp also made "Psychomania", "Dark Places" and many other overlooked genre movies) and the notorious cool guy who receives top billing even though he only sporadically appears in the film (Lon Chaney in finally another role that suits his grim appearance). Somewhere deep in the remote en rural British countryside, the centuries old feud between the Whitlock clan and the Lanier family sparks up again. For the big upcoming real estate project of the Laniers, a bulldozer ravages straight through the Whitlock family cemetery and destroys the grave of 17th Century ancestress Vanessa Whitlock, whom was accused of witchery and buried alive by the Lanier family. Well, the accusation wasn't false for sure, as Vanessa promptly rises from the tomb and teams up with the grumpy Morgan Whitlock in order to bring the entire Lanier family down. Several members of the Lanier family die in mysterious circumstances, but complications arise when it turns out that Morgan's little niece Amy is in love with a Lanier enemy. "Witchcraft" is a competent enough and well-paced occult thriller with gloomy black & white cinematography, a couple of original ideas in its screenplay and an extremely tense finale. Lon Chaney Jr. is naturally menacing, but the biggest creeps are provided by Yvette Rees as silent the hypnotically staring witch Vanessa Whitlock. If she would appear behind me on a flight of stairs, I would surely throw myself down from them as well! There are also two very nifty and imaginative fright scenes involving a car and its passenger(s) driving through a bumpy landfill and towards certain death, although in their minds it looks as if they're driving on a safe and cozy lane.

The_Void Witchcraft may not have quite enough about it to ensure it 'classic' status; but it's more than decent effort and certainly a good example of the massively overused 'witch coming back from the grave for revenge' cliché. It has to be said that the film doesn't have a lot of excitement and the story drones rather than leaps from one step to the next; but the film never gets boring either, and experienced horror director Don Sharp (who directed a number of films for Hammer as well as several other genre entries) does a good job of keeping the film interesting enough to ensure that the slow burning plot isn't too big a problem. The plot itself seems to take a bit of influence from Shakespeare's classic Romeo and Juliet and focuses on two families; at war over a century's old feud. The Laniers are accused by the Whitlock's of burying a Whitlock accused of witchcraft alive. This is not good news for Amy Whitlock and Bill Lanier, who have plans to get married. The feud is irritated further by the fact that the Laniers are planning to build on the Whitlock's cemetery...The film's big name is the excellent Lon Chaney Jr who, while billed as the movie's big star, actually takes up more of a supporting role. However, he still manages to stand out as ever as the sinister patriarch of the Whitlock family. The film is shot in black and white and while it's clear that Witchcraft didn't have much of a budget to go on, the film does look nice and the black and white picture aids in giving Witchcraft a thick, foreboding atmosphere. The film does have a few different things going on at once, which gives it more opportunity to be interesting, though it isn't capitalised on. The Romeo and Juliet style plot is the most annoying example of this as very little is made of it. The film does lack suspense, although it does well with the mystery side of the plot and the way that the film builds up the introduction of the ancient vengeful witch is haunting and unsettling. It is true that Witchcraft is far from great and really could have been much better if more was made of it; but in spite of that, I can't dislike this film too much because it makes for a nice, relaxed viewing and I did have fun watching it.

MARIO GAUCI I had always been interested in checking out this one, as much for the late eminent critic Leslie Halliwell's favorable assessment of the movie as for its coverage (from the time of the original release) in a monthly magazine which my father used to collect called "Film Review".WITCHCRAFT allows horror icon Lon Chaney Jr. (top-billed here but appearing only intermittently throughout!) one of his best latter-day roles – though he gives a rather one-note performance. Jack Hedley (later star of Lucio Fulci's notorious slasher THE NEW YORK RIPPER [1982]) is well cast as the young lead, projecting the right mix of ruggedness and intelligence. Notable, too, is Yvette Rees as the revived witch – actually reminiscent of Barbara Steele from Mario Bava's seminal BLACK Sunday (1960) in her simultaneous evocation of sensuality and repulsion; all of her appearances (including nightly visitations upon current members of her family's rival clan who had her buried alive centuries ago!) denote some of the movie's visual and dramatic highlights.As a matter of fact, the film emerges as one of four classic British occult chillers – the others being NIGHT OF THE DEMON (1957), THE CITY OF THE DEAD (1960) and NIGHT OF THE EAGLE (1962) – which clearly serve to establish the fact that there was life within the field outside of Hammer Films…although, on this preliminary viewing, I'd say WITCHCRAFT is a notch below the other three. Incidentally, being the last to come out, it shows definite influences emanating from the concurrent flood of Italian genre offerings (with, as I said, any number of arresting Bavaesque images) courtesy of Don Sharp's stylish mise-en-scene – demonstrating once again his flair for Gothic horror also displayed in Hammer's THE KISS OF THE VAMPIRE (1963) – and Arthur Lavis' crisp black-and-white cinematography. The few coven scenes – especially one that is foolishly interrupted by heroine Jill Dixon, leading to her immediate abduction – bear a strong similarity to those in THE CITY OF THE DEAD; Carlo Martelli's moody score effectively complements the eerie proceedings, which culminate in a typical but satisfying fiery climax.Still, I found the script somewhat problematic and was slightly bothered by the following rather glaring goofs/plot contrivances: during the scene in which Jack Hedley is being compelled to drive towards a precipice by the witch, there's a cut to the car back on the main road (unless this was intended as an illusion, for Hedley to keep going regardless – but it's not made exceedingly clear and, in fact, there's been a recent discussion on this very point in the "Classic Horror Film Board"!) and couldn't they have come up with a different method of disposing of the brothers in the first place (especially since no ominous devil-doll is seen anywhere near them at that time!); also, the fact that Hedley and his brother would go off on a business trip and leave their loved ones behind (including a bed-ridden grandmother) when a couple of unexplained deaths have already occurred, the girl staying with them (the brother's girlfriend) may or may not be involved in witchcraft herself and the vengeful head of their rival clan is about to be sprung from jail!; finally, the thirteen members of the coven enter the crypt to begin the pivotal Sabbath rituals but singularly fail to notice straight away the absence of their intended sacrifice (Dixon) from the room – conveniently allowing the girl and her saviors enough time to flee the premises unharmed! Despite the rather disappointing (if not surprising) lack of extra material found on this "Midnite Movie" 2-discer released from Fox, the included photo gallery does allow one a rare and intriguing look (in color, no less!) behind the scenes of this modest but classy production.

JoeKarlosi A modest but good British horror film that offers a decent part for aging star Lon Chaney. There has been a feud going on between the Whitlock family and the Lanier family ever since the 17th century when the Laniers denounced young Vanessa Whitlock as a witch and buried her alive. Now in modern day England, the Laniers are part of a land developing business that is running bulldozers over the ancient Whitlock graveyard and disturbing their headstones, much to the protest of head spokesman Morgan Whitlock (Chaney). To make matters worse, Morgan's niece Amy (Diane Claire) is in love with Bill Lanier (Jack Hedley). When the tomb of Vanessa Whitlock gets accidentally desecrated, the angered witch (Yvette Rees) rises to seek vengeance by placing curses on the Laniers. It's nice to see Lon Chaney amidst this devilish action, and he adds dignity to what was one of his last good horror movies. Director Don Sharp (Hammer's KISS OF THE VAMPIRE) sets up a few eerie shots and imbues these black and white proceedings with a haunting atmosphere. This movie would make a fine double feature with HORROR HOTEL (aka "The City of the Dead"). *** out of ****