Category Archives: Mai Zetterling

The Witches-1990

The Witches-1990

Director Nicolas Roeg

Starring Angelica Huston

Scott’s Review #483

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Reviewed September 20, 2016

Grade: B-

The Witches (1990) is a G-rated family film with a slightly dark tone that is done softly as the film is targeted at children. However, it is a film that adults may love too.

I found the film to be entertaining, with impressive special effects, and a dazzling comedic performance by Angelica Huston, but ultimately The Witches has a silly quality, though admittedly not trite, that does not completely make it a success in my book.

The film is based on a Roald Dahl children’s book – with predictably a child as the central character- similar to other Dahl novels that became films like James and the Giant Peach and Charlie and the Chocolate Factory.

I cannot help but wonder if my mediocre rating of The Witches has to do with the fact that I have not read the novel, as I have the other aforementioned novels in his collection.

Our hero in the story is Luke- a  kindly, innocent young boy living in Norway with his parents and grandmother- Helga. When his folks are tragically killed, his grandmother takes him to London to begin a new life for themselves.

When Helga falls ill, they stay at a seaside resort where they stumble upon a convention of witches disguised as the Royal Society for the Prevention of Cruelty to Children.

Luke and his plump friend Bruno become victims of the witch’s plot to turn children into mice. The witch group is led by the Grand High Witch (Huston), whom the other witches fawn over with grandiose praise.

Huston is fantastic as she overacts the part she plays- this is not a bad thing but makes the role quite fun and energetic.

When she transforms from a glamorous woman to a shriveled monster, the transformation is interesting to watch and an impressive part of the film.

Furthermore, the way that Luke and Bruno interact when they are mice is also cute and a positive to the film.

I enjoyed the aspect that, if watched closely, can be seen involving the reveal that numerous witches are men with female wigs on. This successfully gives the witches a grotesque, obviously mannish quality and emits a chuckle of pleasure at the same time.

Still, there is something slightly childish or juvenile about the offering- while the film appears dark on the surface. The subject is rather played for laughs instead of going full steam ahead as a dark film.

Undoubtedly this is due to the target audience that the film is going for. For instance, the hotel manager and his affair with a hotel maid seem slightly unnecessary.

The Witches (1990) is a decent offering due to respect for the creative aspects that it elicits- I just felt the story might have been done a bit more seriously.

Additionally, the ending feels slightly forced and abrupt- a Hollywood-intended ending perhaps?

The Girls-1968

The Girls-1968

Director Mai Zetterling

Starring Bibi Andersson, Harriet Andersson

Scott’s Review #404

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Reviewed May 11, 2016

Grade: B+

The Girls is a 1968 Swedish film that is political, surreal, dreamlike, and feminist. These may seem like too many adjectives to describe a movie, but they all happen to be warranted and work to categorize it, which is tough- it is a complex film.

The film left me deep in thought about what I had just viewed- that is a positive for me.

Directed by Mai Zetterling, a woman, the film is told from a female perspective and is quite tricky to follow. However, the message portrayed is a compelling thought of a woman repressed, whether in reality or fantasy, by men.

In my attempt to describe The Girls accurately, it appears to feature a boys-versus-girls element throughout, told by the girls. The plot centers around three women: Liz (Bibi Andersson), Marianne (Harriet Andersson), and Gunilla (Gunnel Lindblom).

The women are hired to star in a touring production of Lysistrata, and each faces conflict and concern over leaving their respective families, but for differing reasons.

Liz’s husband, who is having an affair, cannot get rid of her soon enough. Marianne has recently dumped her married boyfriend. Gunilla has four children and suffers from guilt.  All of the women are very friendly with each other.

All three principal actresses are familiar to eagle-eyed Ingmar Bergman fans as each of them has appeared in numerous films of his-in very different types of roles.

Wild Strawberries and The Seventh Seal (both 1957) feature these actresses.

The women go on tour and have various surreal experiences based on the play in which they are stars. The film, made in black and white, has very overexposed cinematography. The blacks and the whites look very sharp, and this is no doubt done deliberately.

On the surface, it would appear that the women hate men and yearn to be free of them. Is that the point of the film? It seems to go in other directions as well. Do they hate their lives and feel confined with men and free without them, when they are touring their play?

How do they feel about their children? Do they miss them on tour, love them, resent them, or perhaps a bit of each? They yearn to be free of restraint.

We are treated to numerous scenes that seem to be a dreamlike state or a fantasy of one of the women. One runs through the forest and comes upon a grizzled, dirty child on the ground. Is it hers? She then sees her husband sitting in a living room chair in the middle of the forest.

The symbolism resonating through The Girls is countless. We also see the women fantasize about a handsome, young man. Are they tired of the doldrums- looks and otherwise- that their husbands have caused them?

Many political protests occur throughout the film. In one, the women march in unison- Nazi-style and chant. In another, the women lead what appears to be a charge of women-suffragette style, until the women start attacking each other and punching and kicking each other in the streets.

These scenes and countless others are tough to analyze, but perhaps this is the point. I decided to escape into the film and not try to figure out what everything meant.

Fantastic to see the exterior scenes shot in Stockholm, Sweden, which reminds us what a liberal, democratic city it is. Yet the women are repressed. Made in 1968, during the sexual revolution, the film’s timing is perfect.

The Girls (1968) left me pondering the story and the viewpoint, and I will need further viewings for the film to sink in more successfully and for me to get it, if I ever do, but I enjoyed it nonetheless.

The film is the kind of film that requires further viewing to understand. I look forward to watching this film again, which is high praise.