A skeptical college professor discovers that his wife has been practicing magic for years. Like the learned, rational fellow he is, he forces her to destroy all her magical charms and ...
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The great hypnotist Professor Montserrat has developed a technique for controlling the minds, and sharing the sensations, of his subjects. He and his wife Estelle test the technique on Mike... See full summary »
In 1947 England, a plastic surgeon must beat a hasty retreat to France when one of his patients has ghastly problems with her surgery. Once there, he operates on a circus owner's daughter, ... See full summary »
A skeptical college professor discovers that his wife has been practicing magic for years. Like the learned, rational fellow he is, he forces her to destroy all her magical charms and protective devices, and stop that foolishness. He isn't put off by her insistence that his professional rivals are working magic against him, and her protections are necessary to his career and life. Written by
Ken Yousten <email@example.com>
The original script contained much more occult and voodoo material, however, this was cut down as director Sidney Hayers felt the relationship of the Taylors needed to be the focus of the film. See more »
At 1:21:48, you can see the guide wire controlling the eagle. See more »
[Speaking of an upcoming, open promotion]
You don't really deserve it, you know.
You've got too much already - a beautiful wife, this lovely house and that cottage by the sea. Your excellent thesis, and your ability to interest the students, now what's the answer to it all, eh? You sold your soul to the devil?
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There is no The End closing title, just a final "Do You Believe?" to conclude the film. See more »
This has always been one of my favorite horror movies. A lot of its force--notwithstanding the good solid script and direction--is due to Peter Wyngarde's performance as the husband of the title witch. At first he shows us the man's skepticism, a disbelief so fervent and so confidently scornful of opposition that it persuades his wife, even in the face of the sinister atmosphere that's growing all around them--this being painted in with that easy skill that only Britons seem able to command. As the story progresses, Wyngarde shows us, one unnerving step at a time, the man's loss of his lack of faith, to the point of absolute belief (which the film points up with an obvious, but very satisfying, joke) and absolute terror. Except for Fay Wray writhing and screaming between twin pillars in anticipation of her sacrifice, I can't recall another victim whose fear I've felt along with him so completely. In my opinion Wyngarde's is one of the great performances in horror films, and the film itself is one of the last of the classics.
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