Legend of the Witches

Legend of the Witches is a groundbreaking and controversial film from 1970, believed by many to be one of the first serious cinematic explorations of real witchcraft and its rituals. It starred Alex Sanders, the self-declared "King of the Witches," his then-wife Maxine Sanders, and Guy Standeven.

The documentary-style film provides an intriguing window into the world of modern witchcraft during the 1970s, a time when it was enjoying a revival and slowly gaining mainstream acceptance. Directed by Malcolm Leigh, this film is less a traditional narrative and more an intimate view into a clandestine and often misunderstood community.

Alex Sanders, revered in the Wiccan realm, plays himself in the film, lending an air of authenticity and credibility to the portrayals of witchcraft rituals. His wife Maxine Sanders adds a feminine perspective, deeply accentuating the duality essential in Wiccan beliefs. Completing the main cast, Guy Standeven offers an everyman's perspective and acts as a kind of bridge between the viewer and the strange world on screen.

Legend of the Witches is structured around a series of Wiccan rituals and ceremonies. The rituals shown range from those enacted during full moons, to initiations, to rites linked with the eight Sabbats of the Wiccan Calendar. Some acts may seem shocking for their time; for instance, the controversial rites of Drawing Down the Moon and The Great Rite are graphically depicted, amplifying the film's sense of mystery and fascination.

In narrating these ceremonies, the film does not seek to judge, exploit, or demonize. Instead, it opts for a more objective, anthropological perspective, inviting viewers to vicariously participate in the ceremonies and get a glimpse into the internal dynamics of a coven.

Although ostensibly a documentary, Legend of the Witches does contain elements of a fictional narrative. An undercurrent plot threads through the rituals and ceremonies, centering on a young woman seeking initiation into the coven. Through this young woman’s journey, the viewer is simultaneously educated about the principles and practices of witchcraft.

While not a horror film in the traditional sense, Legend of the Witches does dabble with eerie atmospherics and aspects of the unsettling. Shadows play a pivotal role in the visual narrative, and real-life settings—ranging from graveyards under moonlight to old, ominous church ruins—lend a lingering aura of the macabre.

Also noteworthy is the film's historical value. The film offers insights into the beliefs of the romanticized and somewhat idealized past of pagan Europe, while simultaneously shedding light on modern witchcraft's struggle for acceptance. This simultaneous assertion and examination of pagan and Wiccan identity give the film continued relevance, even after half a century of its initial release.

The hypnotic score by John Shakespeare enhances each ritual, accentuating the film's eerie and mystical ambiance. The viewers are drawn not just to see, but to participate and experience, rather than observe from a distance. The cinematography by Kieran Hickey is also notable, with several striking images that stay with the viewer long after the film ends.

Legend of the Witches presents a counterpoint to traditional witch depictions in cinema. It does not present witches as malevolent crones or beguiling sirens, but as followers of a deep, rich, and ancient tradition. By the end of the film, viewers are left with an expanded understanding of a religion that has often been shrouded in fear, suspicion, and misunderstanding.

In conclusion, Legend of the Witches serves as a historical time capsule that showcases the beliefs and rituals of a once closeted community. It offers a unique perspective toward witchcraft and serves as an invaluable resource for those interested in paganism, Wicca, and the broader occult world. Although provocative and unconventional, this film remains a fascinating and significant part of occult cinema's history and a bold attempt to depict the reality of witchcraft with authenticity and respect.