Burn, Witch, Burn

Studio: Kino Lorber

Oct 01, 2024 Web Exclusive By Mollie Hawkins Photography by Kino Lorber

“Through every civilization, people have believed in witches. Could they all be wrong? I don’t think so…” So begins the enchanting 1962 classic black-and-white horror film, Burn, Witch, Burn, also known as Night of the Eagle (UK). Witches are presented in this film as if the dark arts are a known hobby among all women (maybe they are…), and to be denied such casual hobbies can have dire consequences. As the story unfolds, this notion of everyday witchcraft takes a sinister turn, revealing the dangers of underestimating its power.

Starring Janet Blair as Tansy Taylor, the beautiful wife of small-town professor Norman Taylor (Peter Wyngarde), the two make a handsome couple enjoying the successes of Norman’s academic career. The catch? Tansy is a witch, practicing “conjure” magic that has been the catalyst for Norman’s success. Norman is furious when he discovers this betrayal, because he is a scholar and—above all else—a man of scientific fact. He forces Tansy to burn all of her spell-casting paraphernalia, unwittingly bringing bad luck upon himself. And Flora (Margaret Johnston), the university secretary, only has sinister magic on her mind.

Burn, Witch, Burn is based on the 1943 novel, Conjure Wife, by Fritz Leiber. Witches were having a cinematic glow-up after getting a bad rap in the late 1930s, which brought us green-faced, warty-nosed crones of Snow White and the Seven Dwarfs and Wizard of Oz. So it added a layer of psychological tension to horror films featuring witches that just look like the “average housewife.” Conjure Wife resonated with film studios so much that they made three adaptations, including Weird Woman (1944), Night of the Eagle/Burn, Witch, Burn (1962), and Witches’ Brew (1980). Women with power—how terrifying, how thrilling!

Frame by frame, the film is very fun to watch. Slow scenes and sparse dialogue give the cinematography the space to breathe, suggesting unseen forces at work—a tactic that certainly adds to the mystery. Panning shots of spinning lampshades, talismans, crackling fire, and jarring sound effects are what most effectively tip this film into anything “scary” by modern standards. An ominous score by composer William Alwyn adds heart-thumping dread as the film drifts toward a thrilling conclusion.

Scanned in 4K from original negatives, Kino Lorber does this film justice with a special edition Blu-Ray, featuring both U.S. and original UK versions. Other bonus features include enlightening audio commentary by novelist and critic Tim Lucas and screenwriter Richard Matheson, as well as an interview with actor Peter Wyngarde.

(www.kinolorber.com/product/burn-witch-burn-special-edition-aka-night-of-the-eagle)

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