Also known as: Jack’s Wife (working title), Hungry Wives (original title), George A. Romero’s Season of the Witch (alternate title)
Release Date: May, 1972 (New York City premiere)
Directed by: George A. Romero
Written by: George A. Romero
Music by: Steve Gorn
Cast: Jan White, Raymond Laine, Ann Muffly
Latent Image, Jack H. Harris Enterprises 130 Minutes (original cut), 89 Minutes (theatrical), 104 Minutes (extended cut)
“[reading from the Witchcraft primer] ‘The religion offers, further, a retreat for emotional women, repressed women, masculine women and those suffering from personal disappointment or nervous maladjustment.’ Christ, what other kind of women are there? No wonder this stuff’s getting so damn popular.” – Shirley
Season of the Witch is kind of a weird movie. While it has some horror themes to it, it really isn’t horror in a traditional sense. It’s got some witchcraft and some creepy imagery but ultimately, it is more of a feminist drama.
The film was originally called Hungry Wives and wasn’t marketed in a way that showed that it was a film about witchcraft. In fact, it was pushed out like it was a softcore porn film in the height of the grindhouse era. Upon its initial release, the film was a failure.
The story is about a bored and abused housewife from suburban Pittsburgh, who meets a local witch and develops an attraction for her pagan practices. She starts doing things that were once uncharacteristic of her, like having sex with a young charmer that had sex with her daughter earlier in the film. She also finds herself and develops confidence and her own power.
The film was directed by George A. Romero and he came up with the idea while researching witchcraft for another project. Around the same time, he also became aware of the Feminist movement and was inspired by it.
Ultimately, the film is pretty dry and certainly won’t satisfy the palate of Romero fans looking for something similar to his more famous work. There is little to no terror and dread in this other than a few visions and a creepy mask.
Also, the original negatives are lost, as is the original cut of the film. All that’s left is a chopped up, much shorter version of the final film. So some of Romero’s vision is probably lost and it’s possible that the quality of the film suffers because of this.
Still, what has survived makes a coherent enough story to follow and yet it is still rather boring apart from less than a handful of scenes.
Pairs well with: Other Romero early films: The Crazies, Night of the Living Dead and for something more modern, Anna Biller’s The Love Witch.