MOVIE REVIEW
Burn, Witch, Burn (Special Edition) aka Night of the Eagle (Blu-ray)
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Genre: Horror
Year Released: 1962, 2024 Kino Lorber Blu-ray
Runtime: 1h 30m
Director(s): Sidney Hayers
Writer(s): Fritz Leiber Jr., Charles Beaumont, Richard Matheson, George Baxt
Cast: Peter Wyngarde, Janet Blair, Margaret Johnston, Anthony Nicholls, Colin Gordon, Kathleen Byron, Reginald Beckwith
Where To Watch: available now, order here: www.kinolorber.com or www.amazon.com

RAVING REVIEW: In the darkest corridors of British cinema, BURN WITCH BURN (also known as NIGHT OF THE EAGLE) emerged as a riveting exploration of the conflict between rational thought and the mysteries of the unknown. The 1962 production, under Sidney Hayers’ direction, twists elements of psychological intrigue with supernatural experiences. This film gains its atmosphere from the masterful scripting by Richard Matheson, Charles Beaumont, and George Baxt, who collectively draw upon Fritz Leiber’s novel ‘Conjure Wife.’

At the film’s heart is Norman Taylor (Peter Wyngarde,) a rational man whose world is upended when he discovers that his wife, Tansy (Janet Blair,) has been secretly engaging in witchcraft. What starts as a serene atmosphere soon devolves into chaos as Tansy’s attempts to ward off evil forces unravel, challenging Norman's deeply held skepticism and triggering a series of unexplainable events.

BURN WITCH BURN particularly shines in its portrayal of the stark contrast between scientific skepticism and mystical belief systems. Norman, the epitome of rationality, views his wife’s mystical endeavors as foolish superstitions. Yet, his insistence that she forsake her protective rituals inadvertently dismantles the defenses, keeping the darkness at bay and thrusting them both into a dire battle against the supernatural consequences of his disbelief.

The film is a feast for the senses, with Hayers using a palette of shadows and light to craft an ominously charged atmosphere. Cinematographer Reginald H. Wyer plays a pivotal role in heightening this tension, using stark lighting contrasts and confining frames that visually echo the narrative's claustrophobic squeeze on Norman's world of logic.

As the story unfolds, it blurs the boundaries between mental turmoil and the paranormal, challenging the audience to question the validity of Norman’s rational perspective. This ambiguity elevates the film from a standard horror to a profound meditation on the nature of reality versus illusion.

Despite its intricate buildup of suspense, the film’s climax might strike some as recklessly tied together, resolving its richly woven plot threads a tad too neatly. Nevertheless, the finale leaves a lasting impression with its symbolism, a powerful sign for the unseen forces that have stealthily shaped Norman’s fate.

Regarding performances, Wyngarde stands out with his compelling portrayal of Norman, capturing his evolution from a self-assured academic to a man wrestling with forces beyond his comprehension. Blair balances Tansy's dual nature, portraying her as a devoted wife and a purveyor of the supernatural. In the role of the antagonist, Flora Carr, Margaret Johnston brings an unsettling presence to the film, highlighting the formidable threat posed by competing magical practices.

Beyond its status as a hallmark of 1960s British horror, BURN WITCH BURN is a thought-provoking film that invites viewers to reflect on how deeply held beliefs can alter one's perception of reality. Its combination of depth, performances, and storyline cements its place as a must-watch within the annals of cinematic history.

BURN WITCH BURN blends horror elements with psychological drama, examining the often invisible forces influencing our lives and beliefs. Its capacity to entertain and provoke deep reflection ensures its relevance and appeal, making it a particularly compelling watch for those intrigued by the perpetual dance between reason and the supernatural.

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[photo courtesy of KINO LORBER]

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