For the Love of Witches
Witches have always captivated me. Between Angelica Houston in The Witches and Nicole Kidman and Sandra Bullock in Practical Magic, my childhood was shaped by the strong female characters I saw on film. They were outcasts, yet they owned it. They were strong and, in the case of Houston, ruthless. They were beautiful and stylish. I’ve been fascinated by witches (good or bad), their power, and their stories for half of my life. As a fan of Old Hollywood, I’m eager to recommend two fantastic films about witches- I Married a Witch and Bell, Book and Candle. In addition to these classics, I’m recommending a more recent film with a retro aesthetic and ultra-modern feminist twist, The Love Witch. I hope you’ll find these films entertaining, and delight in the costumes as much as I do. Enjoy, fellow witches!
I Married A Witch (1942)
The film begins in a 17th-century Puritan community. Jennifer, a witch, is sentenced to death by the town’s leader, Jonathan Wooley. As a final act before being consumed by flames, she casts a spell on the future generations of Wooley men that they shall fall in love with the wrong woman and spend their lives in misery. Fast forward to the twentieth century. Jennifer’s soul is released from confinement, and she assumes the form of a human once again. She is happy to discover that her curse is flourishing upon meeting Jonathan’s descendant, Wallace Wooley, who is unhappily engaged. Looking to exact further revenge upon the man, she decides to toy with him by making him fall in love with her. Jennifer uses her charms but to no avail. Despite his dislike of his fiancee, Wallace remains committed to her and refuses Jennifer’s advances. Feeling hopeless, Jennifer resorts to making a love potion for Wallace. By unlucky circumstances, she takes the potion and falls in love with him. Fantastical screwball comedy ensues!
You wouldn’t know it watching their on-screen chemistry, but Veronica Lake and Fredric March despised working together. Before production even began March, declared Lake as “a brainless little blonde sexpot, void of any acting ability (TCM).” Upon hearing March’s comments, Lake retorted that he was a “pompous poseur (TCM).” Once production began, the filmmaking experience was rocky with the stars constantly bickering. Watching the film, knowing the challenges of production, makes it that much more intriguing. Their rapport is charming, and it’s nice to see them starring in lighthearted material. Prior to this film, March was known as a serious leading man and Lake was known for her femme fatale roles in film noirs. Yet, Lake delights as the playful witch, demonstrating a knack for comedy that wasn’t fully utilized by Hollywood.
Noteworthy Style Moments
Prolific designer, Edith Head, designed the costumes for the film. Head struggled to dress the teeny 4’11” Lake, stating, “Her figure problems seemed insurmountable (Truhler).” Head worked with what Lake had to offer, which was a small waist and an ample chest. Dressing Lake in gowns with cinched waists and V-shaped or heart-shaped necklines highlighted her assets while seemingly elongating her in the process – a trick of the eye to detract from the star’s tiny stature. This style of dress would become Lake’s signature look, along with her peek-a-book locks. The most notable dress from the film is fashioned after a classic witch aesthetic – a long black chiffon dress with billowy sleeves and a sheer heart-shaped bodice. For promotional purposes, Lake posed with a cauldron, broomstick, and a pointy witch hat.
Bell, Book and Candle (1958)
Kim Novak stars as Gillian Holroyd, a store owner and secret witch living in 1950s hip Greenwich Village. She falls for her endearing neighbor, Shep Henderson (James Stewart), but he’s engaged to Gillain’s old college rival. With the assistance of her cat (hello, animal companion), Gillian casts a love spell on him. Problems brew when Gillian realizes she is falling in love with Shep. For in this world, witches cannot fall in love, lest they lose their powers. Will Gillian forsake her powers to marry Shep? No spoilers here!
Despite the twenty-five-year age gap (Stewart was 50 to Novak’s 25), the pair simmer with chemistry in this charming romantic comedy. In the same year, they would co-star in Alfred Hitchcock’s Vertigo. Although the pair had an amicable relationship, it’s reported that after Bell, Book, and Candle, Stewart transitioned out of playing the leading romantic male toward fatherly figures due to his unease with his leading ladies getting younger and younger.
Noteworthy Style Moments
French costume designer, Jean Louis, dresses Novak in simple, chic beatnik ’50s apparel. While the fashion is of the time, Louis pays homage to the classic witch aesthetic with black, velvet, and hoods. In one scene, Novak wears a black fitted dress with a cinched waist and face-framing black hood. The show-stopping look of the film is the gown worn when Gillian casts her spell on Shep. As Gillian casts her spell over Shep, the front is visible. It appears demure and sophisticated, with a high boat neck and long sleeves. With the love spell completed, and Shep enchanted, he glides toward her. She follows suit, and we see the back for the first time. The gown is backless, with a deep V shaping Novak’s back. Enchanting indeed.
The Love Witch (2016)
“… I take what I want from men, and not the other way around.”
The Love Witch is not a classic Old Hollywood film, but it is a cult classic and for a good reason. With the desire to leave it a mystery to those who haven’t seen it yet, simply put, the film is bewitching. After the death of her husband (implications are that she did it – not a spoiler), the mesmerizing witch, Elaine Parks, moves to California to start a new life. Here she inhabits a Victorian home and settles into her new life. But Elaine wants to find love (again) and is determined to make that happen. Elaine spends her days brewing love potions and seducing men. This lifestyle leads to deadly results, as no man is ever worthy of her in the end. Then she meets the man of her dreams. Elaine is bound to make the relationship work, no matter what it takes.
If ever there was a film devoted to a feminist retelling of the power of female witches, this is it.
Filmed in 35 mm film and vivid technicolor, the entire production is a nod to low-budget horror films of the 1960s. The film was written, directed, edited, produced, and scored by Anna Biller. Even more impressive, Biller also served as the production designer and costume designer. The film is entirely her vision. Samantha Robinson is hypnotizing in the titular role. I implore classic film fans to watch this film, as it honors genres of the past beautifully.
Noteworthy Style Moments
All of the costumes in the film were either hand-sewn (Anna Biller, again!) or were vintage, except for undergarments. The film pays homage to the romantic Victorian style of the 1960s and 1970s. One costume highlight is a vintage Gunne Sax dress in peach that Elaine wears to a teahouse. She wears a floppy pink hat trimmed in flowers to complement the look. While most of the costumes are peach, red, or blue, there is a standout black ensemble. Biller wanted to pay tribute to the stereotypical witch look with an Elvira-inspired maxi gown with matching long, flowing sleeves. Biller used an early 1970s Simplicity pattern (Miller). Throughout the film, Elaine wears oversized rings and long ’70s style pendant necklaces. The film is worth watching for the fashion alone, and I’m sure vintage clothing fans will want to recreate the looks.
Citations
Truhler, Kimberly. “Style Essentials–Veronica Lake Meets Alan Ladd + Iconic Style in 1942’s THIS GUN FOR HIRE.” GlamAmor, 4 Nov. 2014, www.glamamor.com/2014/11/VeronicaLake-ThisGunforHire-EdithHead.html.
Miller, Jenni. “This Retro Horror Movie Has the Sexiest Costumes of the Year.” The Cut, 16 Nov. 2016, www.thecut.com/2016/11/the-love-witch-has-the-sexiest-costumes-youll-see-all-year.html.
Unknown, Unknown. “Turner Classic Movies – TCM.Com.” Watch TCM, www.tcm.com/unavailable#overview. Accessed 14 Oct. 2021.