In Holy Horror I describe the “unholy trinity” of movies that figure strongly Christian themes: Rosemary’s Baby, The Exorcist, and The Omen. These movies span 1968 through 1976 and all were extremely successful. Another writer earlier dubbed another three horror films from the same era the “unholy trinity” (I didn’t realize I was being trite) of folk horror: Witchfinder General, The Blood on Satan’s Claw, and The Wicker Man. These three were low budget and not particularly successful at the box office. They’ve all become cult classics, however. I suppose that together these six films help mark the late sixties and early seventies as the beginning of a new realm of horror films. Folk horror continued to exist but wasn’t terribly common. It has recently been given a high profile by The Witch and Midsommar.
Of all of these films Witchfinder General stands out as the least obviously marked by horror tropes. It’s set as a fictionalized account of the historical Matthew Hopkins, a man actually responsible for about a fifth of all British witch executions in the seventeenth century. There’s nothing really supernatural in the film and its horror reputation is attributed to the cruel tortures depicted—these really pushed the envelope in 1968. Not only was Rosemary’s Baby released that same year but so was Night of the Living Dead, another defining horror film. The sixties were a chaotic time—the birth pangs of a new outlook that is still being resisted by many politicians. We all know about the music of the era, but the cinematic impact was also immense, as these six films show.
As different as they are, these two trinities all feature horror that is fueled by religion. Although this had been pointed out earlier in the century, people were now being made aware that, apart from the good religion does, it also brings potential evil into the world. There’s no question that misguided over-protectiveness of Christianity led to many, many innocent deaths. The more cynical might note that the Christianity being “protected” is actually key to an economic system that benefits the rich—that supports the interests of the wealthy. The historical Matthew Hopkins was the son of a clergyman. Apart from his reprehensible role in rekindling the witch trials in England, not much is known of his life apart from his preoccupation will executing “witches.” As time has gone on, we’ve unfortunately circled back toward the religious conflicts in the folk horror trinity. Watching horror may yield some valuable lessons.