Unveiling the Hidden Gem: George A. Romero’s ‘Season of the Witch’ You Must See!

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#7 in my ranking of George A. Romero’s filmography.

This film, although often overlooked and underappreciated, shines as a gem from George A. Romero’s early days in cinema. Despite the marketing team’s attempts to capitalize on horror aspects that are scarcely present, this movie isn’t essentially a horror production. Instead, it serves as an intricate character study of a disengaged suburban wife and mother yearning for excitement, who ultimately delves into witchcraft in search of purpose in her life.

After recently watching Pier Paolo Pasolini’s work, I found it fascinating to notice similar themes about the emptiness experienced by the materialistic bourgeoisie, observed from a Pittsburgh perspective.

Joan Mitchell (Jan White) is known as Jack’s wife (Bill Thunhurst) and Nikki’s mother (Joedda McClain). Jack frequently travels for work, leaving Joan (Joan) alone on most days. Nikki, being college-aged, lives her own life independently.

On a night out with her friend Shirley (Ann Muffly), they visit a witch named Marion (Virginia Greenwald). Marion gives Shirley a tarot reading while Joan browses through some of the woman’s books about becoming a witch. Fascinated, despite her Catholic upbringing, Joan contemplates the idea subtly during their drive home. Upon returning, she finds Nikki (Nikki) hosting an unexpected guest, Gregg (Ray Laine).

A tense scene unfolds as Gregg manages to coax Shirley into opening up by pretending to roll a joint from a cigarette. Shirley reacts strongly, fearing that she’s smoking marijuana, and confides that she yearns for a fresh start after dedicating so much of her life to her family.

In this captivating film, the central theme that stands out is not so much about embracing witchcraft, but rather, it’s a profound exploration of finding significance in the insignificant. The characters portrayed are individuals leading lives devoid of purpose, even as Joan, a self-proclaimed Catholic, makes a fleeting reference to her faith.

In search of meaning, they grasp at opportunities that present themselves, much like how Shirley symbolically smokes a fake joint or how Joan engages in the performance of witchcraft. However, it’s essential to note that while Joan claims she doesn’t believe in the authenticity of witchcraft, her actions suggest otherwise.

Throughout the movie, she doesn’t merely act; in her mind, at least, she becomes the witch. As for the debate over whether she ultimately acquires magical powers, I lean towards the idea that she does not, as her supposed magic appears to be more symbolic than functional.

Let’s delve into the discussion about editing in Romero’s films. It’s evident that Romero prefers shaping his movies during post-production, rather than relying heavily on scriptwriting or rehearsals beforehand. The early films of his are largely constructed through montage techniques, and he extensively employs this method from the very first frame. Throughout the movie, Joan experiences a series of dreams, and the film initiates with one such dream. Romero immerses viewers into a surreal landscape where Joan follows Jack through a forested area while a baby accompanies them on the path. There’s even a misdirection to make the audience believe it has ended, only for the story to delve further. These dreams recur frequently throughout the movie, remaining ambiguous and never explicitly revealing their purpose. Instead, Romero uses them to enhance the emotional context of Joan’s situation by repeatedly incorporating an image of a masked burglar attempting to break into her house. As the film progresses, Joan becomes more adept at defending herself against this intruder, reflecting her growing involvement in witchcraft.

The story unfolds as an affair commences. She resorts to chanting spells. Is it truly magic that compels Gregg to her home, or was it the straightforward phone call summoning him? I lean towards the latter given my skepticism about magic. Regardless, she ascribes these occurrences to witchcraft, either due to its mystical properties or because it bolsters her sense of power (the notion that by going through the motions, she gains what she desires). This film intrigues me because it delves into a woman’s life devoid of purpose discovering significance in questionable circumstances. The movie refrains from passing judgment on her decision, instead presenting it solely from her perspective. However, this chain of events culminates in an unfortunate outcome that she never seems to regret. There is undoubtedly a beast within her.

The movie was made nearly a decade before the Satanic panic, which makes me ponder if it might have had more success if produced in the early 1980s instead of the early 1970s. This could have boosted its marketability, as the less sensational film it actually is may have needed such an edge to stand out in the marketplace. It’s not primarily a horror movie; rather, it showcases Romero’s strong visual style and editing techniques to build tension, but at its core, it’s a character study. I believe it’s unjustly perceived today. I did watch the 104-minute restored version, though. For a long time, it only existed in a shorter 89-minute cut (reduced by over half an hour by distributors), so this abridged version should be considered when assessing its overall reception.

The 104-minute edit is well done, not the typical work one might associate with Romero. However, it underscores that Romero was not just limited to zombie films; he had other creative directions. Unfortunately, I don’t believe there was a realistic opportunity for him to explore these paths. After a certain point, his only viable financing options were zombie movies and horror films in general. The more intriguing path wasn’t sustainable in the long run.

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2025-03-01 00:30