The Quest for the Wicker Man by Franks Benjamin; Harper Stephen; Murray Jonathan

Author:Franks, Benjamin; Harper, Stephen; Murray, Jonathan
Language: eng
Format: epub
ISBN: 6208801
Publisher: Luath Press Ltd

The Wicker Man – Cult Film or Anti-Cult Film? Parallels and paradoxes in the representation of Paganism, Christianity and the law

Anthony J. Harper

AMONG THE INTRIGUING aspects of the film The Wicker Man are its reception and ensuing reputation. One can detect an apparent paradox between the way the film, over the years since 1973, has stayed in public consciousness as a kind of ‘cult film’, and the negative presentation of the island community of Summerisle as a ‘cult’. The central contrast between Paganism and Christianity is associated with this paradox. Paganism is the intriguing and – for many people in 1973 – still somewhat unusual aspect of the film and it is contrasted with the supposed norm of the time (known to, if not accepted by, all), namely, Christianity.

This chapter will examine the paradoxical contrast between two differing attitudes, religions or philosophies by means of an analysis of two statements made in the film. They both occur, probably not by coincidence, in Scene 10 of both the theatrical version and the director’s cut of the film, entitled ‘Lord Summerisle’. In that scene the film’s two protagonists are in debate. Lord Summerisle, the feudal laird of the island, confronted with the accusation that a murder has taken place, demurs at the possibility, claiming ‘we’re a very religious people.’ Then Howie, the police sergeant investigating the apparent disappearance of a child, attacks the practices that he finds current on the island, telling Lord Summerisle that this is ‘a Christian country.’

Neither of these two protagonists is a particularly sympathetic figure with whom the audience can readily empathise or might wish to empathise. Indeed, both seem on occasions decidedly unattractive. Each plays off the other, and they have, for example, been described as ‘one another’s ‘other’.’1 This lack of a hero with whom one may unequivocally identify can be viewed as a positive aspect of the film, since the audience is therefore able to examine all statements from the two figures without the danger of a simple, because exclusive, acceptance of a single set of sentiments on the basis of identification with the relevant character concerned. Howie’s and Summerisle’s respective statements may therefore be viewed as having a Brechtian Verfremdungseffekt (alienation or distancing effect), intended to disturb us, to distance us from the action and make us reflect on the words or even respond by reacting against them.

The growth of interest in, or even personal existential identification with, Pagan traditions might be attributed to various strands of twentieth century culture. Sir James Frazer’s famous study The Golden Bough first appeared in 1890 and soon stimulated great cultural interest far beyond its own specialised sphere; we shall return to this work in a moment. Margaret Murray’s The Witch Cult in Western Europe, a sensational and controversial work, now largely rejected, appeared in 1921; the works of Gerald Gardner, whose first novel A Goddess Arrives appeared in 1941, are usually regarded as having founded the development known as Wicca. These were followed by a number of further works such as Witchcraft Today.

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