There were a few reasons I proposed this series – other than simply thinking it fitted in – when I began writing for Horror Movies. I wanted an excuse to find and watch some of the nasties I hadn’t seen, I wanted to suggest that some deserved reappraising, and I wanted to make sure more people knew about this strange, hard to find, terribly underrated film.
In this series I’m taking a look back at the films that, in the early 1980′s, were caught up in the Video Nasties moral panic in the UK. When video first arrived in the UK it was not covered by our censorship laws, and that, combined with the reluctance of the studios to embrace the technology, meant that many of the early releases were lurid, uncensored, horror films.
The tabloid press mounted a campaign against the films, and with a new right wing government in power and the growing influence of pro-censorship campaigner Mary Whitehouse, the Director of Public Prosecutions was instructed to draw up a list of films liable to prosecution under the Obscene Publications Act. I’ll be looking at every one of the 74 films that made this list, giving you a snapshot of the controversy around each film before watching and reviewing it.
The Ban
VTC really didn’t help themselves with the box cover for their release of this strange film, giving it the tagline ‘a young woman’s nightmare of incest and castration’, that, along with an ambiguous title, would likely have been enough to get it on the list. The film was prosecuted under the Obscene Publications Act, but the prosecution failed and it was dropped from the DPP list shortly after.
The Witch Who Came From The Sea has remained a somewhat elusive title, both the 2004 US release (which was a special edition boasting a commentary by cinematographer Dean Cundey, who also supervised the film’s restoration, and was Spielberg’s DP of choice for some time) and the uncut 2006 UK release (which was only available in the second ‘Box of the Banned’ collection) now deleted.
The Film
Most video nasties that flirt with surrealism do so not by design but through sheer ineptitude (yes, Don’t Go In The Woods, that’s you I’m glaring at), but The Witch Who Came From The Sea is surreal by design, and uses that surreality to depict its main character’s state of mind in a truly impactful way. Unlike most of the films on the list the ‘nasty’ here isn’t so much visceral violence as it is psychological disturbance.
The story is about Molly (Millie Perkins), a disturbed, alcoholic woman in her mid 30′s, obsessed with TV, living in a seaside town in the US. She has a strange and disturbing relationship to love and sex, fantasising about everyone she sees on TV (everyone on TV is ‘beautiful’) and sleeping around in her small town. Molly’s fantasies turn violent, but we soon come to find out that her ‘dreams’ may in fact be real, and that a dark past, connected to father she says was lost at sea, may have something to do with what is happening.
Millie Perkins was launched into Hollywood at 21, with an acclaimed performance in the 1959 film of The Diary of Anne Frank. It is hard to conceive of a role further from that one than that of Molly, in fact the distance is so vast that it’s almost a distracting thought in watching some of the more extreme scenes in Witch. By the time of this film Perkins had dropped off the Hollywood radar so completely that when a writer working on a where are they now piece inquired of the Screen Actor’s Guild where she was he was told that she was dead. That’s deeply unjust, because her performance here shows an actress of great skill and nuance. I don’t wish to damn her with faint praise, but this may be the best performance on the DPP list (only Camille Keaton gets close). Molly’s disturbance, and her increasingly profound retreat into the fantasy world of TV (“You don’t know if it’s true or not unless it’s on television”) are brilliantly, and often movingly, rendered by Perkins, who creates great sympathy for this character, who is, after all, a murderer.

There are many reasons that The Witch Who Came From The Sea quite legitimately troubled both the DPP and the BBFC. Most profoundly there is the film’s back story; a tale of Molly’s childhood abuse at the hands of her Father, which is briefly, but incredibly confrontationally, depicted on two occasions. The very existence of those scenes – though their purpose, and their achievement, is to shock and disgust rather than to titillate – is enough by itself to show why the film ran into trouble. Then you have to combine it with a great deal of scenes combining a naked Millie Perkins with sexual violence (Molly kills by castrating men) and the BBFC bugbear of blood on breasts and, however serious the film is, however much it’s a psychological drama rather than a horror film, it’s pretty obvious why it landed on the nasties list.
Director Matt Cimber (widower of Jayne Mansfield and a prolific director of softcore films) manages to be Lynchian before that was even a thing people aspired to be. The use of reverb gives the are they/aren’t they dream sequences an effective dislocation, and he achieves a sense of unease even in the clearly real world scenes. There are a few cheesy effects (a solarised dream sequence, for example) and the limited gore isn’t that convincing, but given what must have been a tiny budget, the visuals are strong. Of course that’s also down to DP Dean Cundey, whose work also helps maintain an eerie balance between real and surreal.
This is one of the titles that makes me give thanks for the DPP list, films like Cannibal Holocaust, I Spit on Your Grave, The Evil Dead and The Beyond would have survived without it, but this? This would have vanished without a trace and become, at best, a barely known curio. Happily, if inadvertently, censors preserved the title, preserved interest in it, and made sure it never became, as it well might have, a lost film of sorts. It may not be easy, but track this film down. It’s a strange and disturbing piece of work, but you’ll seldom have seen anything like it.
8 / 10

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