Psyched by the 4D Witch (A Tale of Demonology) (1973)

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Director: Victor Luminera (a.k.a. Lawrence Milton Boren)

Screenplay: Victor Luminera

Cast: Margo as Cindy; Esoterica as Abigail; Tom Yerian as Mark; Kelly Guthrie as Mr. Jones; Tracy Handfuss as Jan Kleinmetz; Keith Erickson (as Dr. Ambrose Kleinmetz)

[USA]

Synopsis: Dabbling in the sinister world of the occult, naive college student Cindy (Margo) is contacted by a 17th century ancestor from the 4D realm, a witch named Abigail (Esoterica) who promises the virginal girl orgasmic joys without any consequences of physical sex. Secretly however she wants to pervert her out of revenge. Even if it means turning her older brother Mark (Tom Yerian) into a sexual vampire.

Since seeing a clip from Something Weird Video's back catalogue, I have been curious about Psyched by the 4D Witch. That and the fake legend of a print of the film being found where the Manson Family camped, all despite this film existing long after their infamy. Well, that's depending on if it actually was released in 1973, or if it was shot in the late sixties and sputtered out in the early seventies. If any film was late the psychedelic boom Psyched by the 4D Witch was one such example, and this is definitely one of the extreme examples of American cinema's exploitation production. It comes from the melting pot of independent American genre films, sandwiched between the two decades and feels like it. A sexploitation film which has more puritanical stains of the sixties, but released in the early seventies (if the case) and needing more bite. All shot in "Transetheric Vision", which feels like a fifties marketing gimmick.

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It is with a fair warning that this review will become crass just having to explain the film in depth, because sexploitation even when it was chaste was entirely about selling sex, even if how and what the stories were about are tasteless or just weird. What actual story to some is as much their DNA and also to be warned about, as you don't try to enter some of these films unless you have the tolerance for very different strain of filmmaking, be it technically inadequate or just on the fringe of culture. The warning, due to this, this is only for a select audience to try to get through. And this is bearing in mind you barely see a lot in Psyched by the 4D Witch. That's the irony with this film, the most sexless of sexploitation films which yet still has a lot that'd embarrass some people to be caught seeing. Inexplicably appearing on Amazon Prime, obscure even for a 4K Blu-Ray restoration, the version matching its haphazard tone cultivates various colonies of grain and age just on the print used for the digitalization, adding to the experience the television was spiked with bad hallucinogens.

The film's split personality is perplexing. On one hand its sixties tinged psychedelic, which was popular in exploitation cinema, reeking of the cautionary films from the same time. Stay for the titillation, but condemn the "perversions" onscreen. Yet this is also a seventies movie and tries to be more scuzzy in connection to its occult plot line. Cindy's friend Jan (Tracy Handfuss), when brainwashed into the occult rituals, writhes with a rubber snake as if in a burlesque nudie loop. Until its claimed in the voiceover she inserted the snake into herself before the ritual in one of the many  bizarre lines. The snake used inappropriately is just hinted at in dialogue, alongside mention of necrophilia and such. Attempts to clearly go further which the structure of the movie is compromised in being caught between both sides.

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Scenes which seem to cut away from the sex as if they were actual porn sequences, purely softcore of the sixties cut to ribbons until its barely comprehensible at times. These perverse lines merely hinted at in the voiceover when what is onscreen, if viewed mute, wouldn't be perceived in that context. Plenty of nudity, but with sexual words bleeped inexplicably from the soundtrack nonetheless. A sense of the quainter sixties films but reeking of filth just in the plot and the atmosphere of the production. It makes it a confused film in terms of its existence, as its meant to be softcore yet if stuck between the sixties caution and seventies sleaze, all whilst not showing a lot actually onscreen. Especially as actual hardcore pornography briefly became chic in the mainstream, with the likes of Deep Throat (1972), a film like this missed the boat for its audience completely and flounders.

The experience is instead like Kenneth Anger, the legendary occult practitioner and avant-garde filmmaker, if Inauguration of the Pleasure Dome (1954) with its coloured gels covering the screen and actresses in quasi-ancient garb was instead made by people on a bad day using horse tranquilisers. A sense this was put together with various pieces of footage, even home movie material, as Psyched by the 4D Witch is all post-dubbed with narration and various scenes. Whilst there is a lot of nudity of both genders, you have a patchwork so extreme it becomes confusing. A scene between Cindy and her aunt - which demonises lesbianism by making it incestuous, but still lusts over an "exhausting three-way lesbian climax" with them and the ancestor Abigail - is so chopped up in structure I had no idea what was going on. A lot of shots are reminiscent of being inside a lava lamp. Superimposition. Quasi-Eastern costuming, which again evokes Kenneth Anger but also Jack Smith. So much pink and purple, due to the print seen as well as the aesthetic, to the point the scenes of the ordinary 3D world are heavily tinted in these colours. Eventually until pink is soaked into your eyes. Events from later in the film are even cut into the structure early on as if premonitions, such as the older brother mid-sex vampire role devouring a victim, all without context until you get to that plot point properly.

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There's little sense of the occultism being anything than just an excuse for the weird titillation. It neither helps how slapdash the film is in being put together. The strangest moment is not the sex. Or when it abruptly switches from Cindy as our narrator to her older brother, unaware despite being reflective of these events having past that he's about to be turned into a cannibalistic sex vampire. Nor the perversity attempted at. No, it's the unexplained and lengthy scenes that feel like home movie footage. In particular the one of a beach, just panning over the local environment and its tourists, which goes one for at least five minutes or so, that is incongruous to the extreme.

Now considering how many times I've said the film is bad, is Psyched by the 4D Witch to just be avoided? For those with an intolerance of the barrel of American exploitation, you stay away as far as possible. For someone like myself, with a tolerance for this type of film, it was something I'm glad to witness. Slithers of very memorable things that made it compelling, and all that was an aghast failure still idiosyncratic. Its luridness coupled yet with a chaste innocence. The gay neighbour who someone is convinced by Cindy to participate in her sexual exploration. That, technically, what she experiences is mystical rather than physical, extended fantasies Abigail is absorbing the energy from for her nefarious ways. That Mark's experience becoming a vampire is slowly built up with using travelogue footage of a seventies games arcade only to never be fully resolved, left to wander in his new life as an inexplicable plot point. Or that the solution to the drama, provided by Dr. Ambrose Kleinmetz (Keith Erickson), which also involves sex but at a significant cost. That even a film this misbegotten has a hummable psych rock title song.

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And if anything, looking at any screenshots of the film makes you aware how utterly perplexing the film must be as moving images. Many will find this painful, but the mix of extreme colour saturation, avant-garde experimentation, and exceptionally low budget sexploitation is a peculiar aesthetic cocktail.  Trying to make sense of Psyched by the 4D Witch is arbitrary. It's simple on paper - an innocence young woman corrupted by an evil ancestor from beyond the grave - but the structure and tone is what causes one to feel in a stupor. Of course since this is sexploitation, one has to ask whether it is actually erotic, which it isn't. It isn't titillating in the slightest. And that in itself, because it's too rambling and unconventional to be, adds to the strangeness as, even without the sexual perversions angle, the film is so fragmented it would undermine any of its original purpose.

Abstract Spectrum: Grotesque/Psychedelic/Psychotronic/Weird

Abstract Rating (High/Medium/Low/None): Medium

Personal Opinion:

One of the strangest things I've seen in a while. One of the queerest at least. The film will be unbearable for many to suffer through, but for myself witnessing its hot pink tinted mass spew onscreen both made me feel dirty but was also oddly compelling.

The Prisoner (1967-68)

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Directors: Patrick McGoohan, Pat Jackson, Don Chaffey, David Tomblin, Robert Asher and Peter Graham Scott

Creator: Patrick McGoohan

Synopsis: Prisoner No. 6 (Patrick McGoohan) is former secret agent for the British government who resigns, only to find himself in the strange community known as The Village, deemed as having too much valuable knowledge to release. A place cut off from the entire world, The Village might be idyllic in appearance but it is a place for former spies  and agents where those in control will gladly use any means for the villagers to comply. With a revolving door of No.2s, all of them trying to learn why No. 6 resigned, No. 6 is both concerned about escaping The Village and who No. 1 is.

How do you talk of The Prisoner? Others have - Repo Man (1984) director Alex Cox has written a book to coincide with the series' fiftieth anniversary. Many have parodied or referenced the series including The Simpsons. Even in the least likeliest of places one swears the scriptwriter was taking direct inspiration from this series, such as the version of the Village Jean-Claude Van Damn ends up in during Double Team (1997). But we should not forget, as my own father had recounted when he saw the seventeen episode one-off back in the day, how bloody odd The Prisoner actually is. Despite only a few of the episodes being canonical to his idea, this was star Patrick McGoohan's personal project which he was able to have due to his success from the likes of Danger Man (1960-68), one where he openly led viewers into a bizarre tale of nonconformity.

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The spy tales of before in his career merge into this, the secret agent No. 6 finding himself within the Wonderland of The Village. The use of quaint English iconography, from the garden tables and parasols to the symbol of the Penny Farthing, not only prevent the series from dating by being overtly artificial and colourful, but it brings about a paradox in how alienating the environment is despite looking like the utopia found on a jigsaw puzzle. The Village promotes democracy and happiness for its occupants at a price, and it is telling that with the first few episode No. 6 manages to already escape in the series only for things to be completely against him. It is even more telling one of the first episodes has him in an election to become the new No. 2, the event an utter sham controlled out of his will from the start. The metaphors, the cage of conformist life, are obvious but what leaves a lasting impression is how far and how out there this can be to the point of existentialism for No. 6.

Even in the context of the Cold War, The Prisoner instead feels like McGoohan exorcising concerns of how ultimately one cannot find true freedom, which he was open about in later interviews after the series broadcast. That it is by the perverse whimsy of late sixties psychedelic and British upper-lip aesthetic, the Good Ol' Days in its colour and harmonious looking environment, actually adds to this dark meaning in that it feels like Lewis Carroll's version of a Franz Kafka story. It also does not deny how openly weird the series still is, and more so when this was screen on ITV in the UK and shown on American television back fifty years ago. But helping it to succeed, alongside the choice of the Welsh village of Portmeirion as The Village, is the openly whimsical and multicoloured aesthetic. McGoohan, by the way, is incredible. Here you have an actor willing to put himself in everything even for a personal pet project, startling for myself as I have only known him before from his role in Scanners (1981). That he can be suave, that his lines can be full of playful barbs, that facial expression and tone of voice mean a great deal, adds to an incredible performance. He is willing to be pushed and not just in terms of literally, around in a wheelchair with a child-like expression on his face holding an ice cream at one point, but act as a character who is both mentally and physically beaten, controlled and even lobotomised throughout the episodes. Only an attempt at a Western drawl in one episode feels out of place, ironic as he is an American-born actor, but everything else has tremendous power.

Thankfully he was backed by a vast and revolving cast of British actors who will all need to be investigated in terms of their own careers. The Prisoner had the inspired idea, likely to reduce the issue of having to negotiate for the same actor over and over, of having No. 2 being a nebulous figure whose role is played by multiple actors and actresses. One actor, Leo McKern, plays a reoccurring and important part of the main narrative, but switching the No. 2 position adds to the sense of an organisation in The Village more sinister and difficult for No. 6 to fight against, anyone revealed to be No. 2 or a collaborator with a sense nothing is trustable. As No. 2 is the real villain the protagonist is up against, it proves more sinister how they can change easily, how disposable they even are as one episode's plot is about the old No. 2 being potentially assassinated by his replacement.

As there are seventeen episodes, there are too many plots to describe. But The Prisoner immediately from the first episodes fluctuates between science fiction, paranoid spy thriller and the utterly strange. Minds are swapped. One episode opens with nearly fifteen minutes without any dialogue. A costume party turns into a kangaroo court. Even No. 6's dreams are not safe from manipulation. There is a sense that as well though, if the series had gone longer, it could have dwindled. The creative team before the final two episodes try to expand out of The Village for one-offs that stray completely out of the conventions of what came before. One I profess to admiring, an even stranger story involving No. 6 against a villain wearing a Napoleon outfit, a chase through a carnival theme park and exploding cricket balls. The western episode however is the one average episode which warns that, whilst these later episodes even play with the reoccurring opening credits to interest effect, they could have derailed the series into the worst. Thankfully that episode ends well, but it arguably is the one bad moment in the entire series as it sounds exactly as average as you would presume from a British TV production trying to film a western, something that is parodied in Red Dwarf for its artificiality for a reason. Thankfully what you get in the first fourteen episodes, before the last two and excluding the western one, are all compelling. All inventive and catching you off guard continually.

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Thankfully The Prisoner ends the right way too. Well, it ends but in a way that was notorious. The ending, appropriately called Fall Out, can be compared to the infamous last ending of another cult series from the nineties, Neon Genesis Evangelion (1995). They are exceptionally different series entirely, but both of them make fascinating comparison to each other. For how they became immensely popular when they were first premiering on television, but both ending with metaphorical endings rather than clear explanations of what happened. Both created in chaotic circumstances - the animated Evangelion plagued by its co-creator Hideaki Anno's deep depression during production and being prevented from creating the original ending, The Prisoner from McGoohan having little time and no idea how to end his project. Both endings did not go down well, Anno getting death threats from fans, McGoohan having to briefly hide from fans. The Prisoner's ending is stranger in how, on the surface, it is so disappointingly matter-of-fact in how No. 6 escapes without any tension. That does not include how in the midst of Fall Out you get licensed music of The Beatles on the soundtrack, a shock considering the licensing issues now that has caused for other older productions, and the unexpected mass chorus of Dem Bones in the middle of the episode. How metaphors literally speak out to represent various forms of subversion and what the hell No. 1 is supposed to be under the gorilla mask. That geography is defied and you witness Patrick McGoohan prancing around in the open side of a truck with a porcelain tea pot just adds to the weirdness. That he is not given his usual credit but just "The Prisoner" in his last few scenes of the series just adds to the sense of something being amiss. The perfect ending in hindsight because of this.

Abstract Spectrum: Mindbender/Paranoia/Psychedelic/Weird

Abstract Spectrum (High/Medium/Low/None): Medium

Personal Opinion:

Legendary with just cause. This it is a mainstream television series, that still followed the structure of an episodic programme, helps with its strangeness especially when one imagines how people reacted to the series back in the late sixties. (And the reactions to the ending would have been more extreme). It is a case of a work which got away with so much as long as it still kept a sliver of convention to help viewers get into it, allowing The Prisoner to have gained the mainstream and cult reputation it had whilst still being unconventional even for someone like myself. Why it took so long for me to view the seventeen episodes is embarrassing but it was still a rewarding experience.

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