Unproduced". AnthonyShaffer.co.uk. Archived from the original on 13 May 2012 . Retrieved 9 April 2012. Kreps, Daniel (3 May 2016). "Watch Radiohead's Sinister 'Burn the Witch' Video". Rolling Stone . Retrieved 4 May 2016. QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork. FRENCH Posters

Summerisle is a simple pagan—if you can call that simple. He is both king and priest in one. But very dangerous. He’s a man, too, of impeccable charm and manners and good taste, an authority, articulate, in many ways a very delightful person. And you can find a bit of that in everyone… You can say that Summerisle is an amalgam of many roles I have played on-screen. Figures of power, of mystery, of authority, of presence. There is quite a lot of my natural delivery in the way Summerisle’s dialogue was written… I have been called upon to play acceptably straight characters—agreeable, courteous, amusing—add to that the suggestion that the character is not quite what he seems, and I have played them many times. Also in the changes of mood. The fact that Summerisle is dangerous when crossed perfectly applies to me: Christopher Lee does not forget a wrong done to him, so I’m dangerous when crossed, too. That’s not a very Christian attitude, perhaps, but it’s a very human one.” After Shaffer saw her on the stage, he lured Diane Cilento out of semi-retirement to play the town's schoolmistress. [22] (They lived together in Queensland from 1975, and married in 1985). Ingrid Pitt, another British horror film veteran, was cast as the town librarian and registrar. Swedish actress Britt Ekland was cast as the innkeeper's lascivious daughter, although two body doubles were used for her naked scenes below the waist. Ekland found out that she was three months pregnant with her son Nic, to Lou Adler two weeks into filming. Stuart Hopps (the film's choreographer) called upon Lorraine Peters, a nightclub dancer from Glasgow, who gyrated at the doorway [23] and against the wall of a bedroom in the fully nude "wall" scenes. Her speaking and singing voices were dubbed by Annie Ross and Rachel Verney respectively. [24] [25] [23] Greetings Cards suitable for Birthdays, Weddings, Anniversaries, Graduations, Thank You and much more Poster prints are budget friendly enlarged prints in standard poster paper sizes (A0, A1, A2, A3 etc). Whilst poster paper is sometimes thinner and less durable than our other paper types, they are still ok for framing and should last many years. Our Archival Quality Photo Prints and Fine Art Paper Prints are printed on higher quality paper and the choice of which largely depends on your budget.

Made with durable metal and luxurious printing techniques, metal prints bring images to life and add a modern touch to any space Hardy spent four months in England studying paganism. “To begin with, we thought of a Hebridean island that could have been made fruitful by an agronomist. It had to have the Gulf Stream phenomenon to fit the story, simply because paganism was closely affected with the crops and sun worship. And I discovered that such island paradises existed. For instance, the Scilly Isles have a strong romantic tradition of the sort we ascribed to Summerisle and are fairly well-known in England. As late as 1920, Lord Leverham, who founded Lever Brothers, bought an island and turned it into a model farm—it’s still there. He did it not just to grow palm trees for the sake of growing them, but more like Lord Summerisle’s grandfather; he was an experimental agronomist and tried to develop new strains and succeeded. Those palm trees that we used in the film, for instance, are real. As to the pagan culture, everything you see in the film is absolutely authentic. The whole series of ceremonies and details that we show have happened at different times and places in Britain and Western Europe. What we did was to bring them all together in one particular place and time.” a b c Jordan, Mark (2003). "The Body". In Gary Laderman (ed.). Religion and American Cultures. ABC-CLIO. p.341. An American remake of the same name, starring Nicolas Cage and Ellen Burstyn, and directed by Neil LaBute was released in 2006. [82] Hardy expressed concern about the remake. [83] Stage production [ edit ]

David McGillivray of The Monthly Film Bulletin praised the film as "an immensely enjoyable piece of hokum, thoroughly well researched, performed and directed." [55] Variety wrote that Anthony Shaffer's screenplay "for sheer imagination and near-terror, has seldom been equalled." [56] Kevin Thomas of the Los Angeles Times called it "a witty work of the macabre" with "the splendid performances typical of British films." [57] Janet Maslin of The New York Times was more negative, calling it "handsomely photographed" with "good performances," but "something of a howl" even though "it seems to have been made in all seriousness." [58]Lord Summerisle, memorably played by Christopher Lee, is the islanders’ cult leader, the grandson of a Victorian scientist who developed a special strain of apple that could thrive in the island’s harsh climate. His ancestor, like the British Romantic poets of the 19th century also reintroduced the old gods to the island folk, bringing pantheistic light and lust into their dour lives. Both projects have thrived, until now. In a last-ditch attempt to appease the Sun God, Howie, a virginal innocent imbued with Kingly virtues (by means of his station in life as a police officer), is to be burnt in the ancient pagan edifice, in the unholy light of day, Summerisle, their “chieftain,” slyly opting out of that particular practice for himself. Christopher Lee described him as a “benevolent dictator.” On 24 June, the Barbican Centre held "Musics from Summerisle", a live performance celebration of the anniversary. [54] Reception [ edit ] The story un-folds like a cross between Chinatown and Rosemary’s Baby, as the dogged Howie gets led all over town, up one blind alley and down another. Clues are dropped all the way about what is really going on, but we don’t heed them. Until it’s too late. Too late to walk away. A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.

During the mid-1970s, Hardy made inquiries about the film, hoping to restore it to his original vision. Along with Lee and Shaffer, Hardy searched for his original cut, or raw footage. Both of these appeared to have been lost. Director Alex Cox said in his Moviedrome introduction in 1988 that the negative had "ended up in the pylons that support the M4 motorway." [44] Hardy recalled that a copy of the film made prior to Deeley's cuts was sent to Roger Corman, who, it turned out, still had it, possibly the only existing print of Hardy's original cut. The US rights had been sold by Warner Bros. to a small firm called Abraxas, managed by film buff Stirling Smith and critic John Alan Simon. Stirling agreed to an American release of a reconstruction by Hardy. Hardy restored the narrative structure, some of the erotic elements which had been excised, and a very brief pretitle segment of Howie on the mainland (appearing at a church with his fiancée). A 96-minute restored version was released in January 1979, [22] again to critical acclaim. Catterall, Ali; Simon Wells (2002). Your Face Here: British Cult Movies Since the Sixties. Fourth Estate. ISBN 978-0-00-714554-6.An average poster that shows multiple pinholes, tears that are clearly visible or possible tape stains. Colours are still good but the paper may have yellowed.

In a sense, Howie has numerous opportunities to succumb to the flesh and escape his fate, but he is too sanctimonious, too proud and blinkered, and too pure. Howie do you like them apples? The whole bizarre episode is seen through his eyes, a mix of comic cuts and daffy disturbance. Aleister Crowley meets Benny Hill. Hardy told S&S, “It’s where Tony and I met. We enjoyed that sort of humor, that sort of bathos.” The first screening of the film was to trade and cinema distributors on 3 December 1973. [1] The first public theatrical release was a week of test screenings at the Metropole Cinema London on 6 December 1973 ahead of the official public release in January 1974. [1] It runs 87 minutes.

Strauss, Matthew (3 May 2016). "Radiohead Artist Stanley Donwood Shares 'Burn the Witch' Behind-the-Scenes Shots". Pitchfork . Retrieved 3 May 2016.