Not long after the Callan TV show ended (My recommendation here), Edward Woodward starred in an unconventional low-budget horror film that has no monsters or ghosts, includes almost no night time scenes, blood, gore or special effects, yet is unquestionably harrowing: 1973’s The Wicker Man.
The plot: Uptight, devout and dedicated Police Sergeant Howie (Edward Woodward) arrives alone by seaplane at a small Scottish island to investigate reports that a little girl has gone missing. He finds a strange community of back-to-nature types who claim never to have heard of the girl, much to Howie’s frustration. He is further inflamed by their paganistic world view, sexual expressiveness and apparent disregard for his authority as a representative of HMG. He eventually meets the head of the community, Lord Summerisle (Christopher Lee), who confounds him further even while ostensibly supporting his quest to find the missing girl. His anger and anxiety mounting, Howie presses his investigation to the limit, but matters become only more maddening and much, much more dangerous.
It’s easy to see why Christopher Lee, who has made almost 300 films, declared that this was the best one he was ever in. He, Woodward, and the actors in other key roles (Diane Cilento and Britt Ekland) give performances that are somehow both realistic and otherworldly at the same time. And Anthony Shaffer’s script has the perfect set-up for suspense: A man absolutely alone in a strange place that he cannot understand and in which no help is available.
In addition to being scary, The Wicker Man is also sensually pleasurable. It features among other sexually charged moments one of the most erotic and original seduction scenes in the history of film. The soundtrack is also rich and stimulating. It would have been easy to simply have the music of the islanders be a recycled collection of old Celtic folk songs, but instead Paul Giovanni composed authentic sounding music that adds immeasurably to the atmosphere.
Warning: This film had an unhappy history post-production, with many cuts being made both by studio suits who didn’t get the film and morality police who hated the sex. The lack of respect for the film at the time is best expressed by the fact that the negative ended up buried beneath the M4 motorway (not a joke, sadly). Work very hard to get as long a cut as you can; Wikipedia has an account of all the versions here.
I hope you will take the time to discover this cult classic of British horror cinema. After the jump, I offer an interpretational addendum for those of you who have already seen it.
SPOILER ALERTSPOILER ALERT READ NO FURTHER IF YOU HAVEN’T SEEN THE MOVIE
When I first saw The Wicker Man many years ago, I read it incorrectly. As Sergeant Howie yells out Biblical verses while being burned alive by Lord Summerisle and his happy, dancing pagan followers, I took the filmmakers to be implying moral equivalence, i.e., one religious zealot destroying another. But when I re-watched the film to prepare for this review, I realized I had misapprehended Anthony Shaffer’s script. Yes, Howie is judgmental, moralistic and a bit of a prig, but his goal is to save an innocent child, and he pursues it with bravery and intelligence. In contrast, the pagans are cold-blooded, calculating murderers. Shaffer’s protagonist thus dies a martyr’s death at the hands of his theological enemies, not as their equal, but as their moral better.