In the realm of fantasy and folklore, magic is a concept that has captured the human imagination for centuries. It has been the subject of countless tales, myths, and legends, each portraying it in their own unique way. However, despite its ubiquity, magic remains an enigma, difficult to define and even harder to grasp. Magic, in its essence, is a supernatural force, a power that defies the laws of nature and enables individuals to manipulate the world around them. But the ways in which magic is understood and portrayed vary greatly across different cultures and literary traditions. In some cultures, magic is seen as a mystical force that is closely tied to the elements of nature.
In some cultures, magic is seen as a mystical force that is closely tied to the elements of nature. It is the power that enables the summoning of storms, the healing of wounds, and the transformation of one's surroundings. Here, magic is often associated with ancient and mysterious rituals, and its practitioners are seen as guardians and protectors of the natural world.
“The Witch” movie review: Horror at its most sinister
Anya Taylor-Joy and Harvey Scrimshaw star in “The Witch,” a chillingly atmospheric story of Calvinist zealotry and creeping hysteria.
PUBLISHED: February 18, 2016 at 5:36 a.m. | UPDATED: April 17, 2016 at 11:15 p.m.* * * Stars | Horror. R. 92 minutes.
A grim, uneasy sense of doom pervades “The Witch,” writer-director Robert Eggers’ audacious and assured feature debut.
An avatar of a sub-genre that might be called Colonial gothic, this chillingly atmospheric story of Calvinist zealotry and creeping hysteria joins the ranks of such landmark horror films as “The Omen,” “Rosemary’s Baby” and “The Exorcist.” That “The Witch” comports itself less like an imitator of those classics than their progenitor is a tribute to a filmmaker who, despite his newcomer status, seems to have arrived in the full throes of maturity, in full control of his prodigious powers.
“The Witch” begins in 1630, as an English settler named William (Ralph Ineson) is being banished from his New England plantation of Puritan colonists, forcing him to move with his wife, Katherine (Kate Dickie), and their four children to a hardscrabble farm on the outskirts of a forbidding forest.
When their oldest daughter, Thomasin (Anya Taylor-Joy), takes her infant brother for a walk one day, she ventures too close to the woods, which are strangely charged with palpable but invisible forces. A series of bizarre events begins to unfold, each more terrifying than the last, calling into question whether the farm’s blighted crops, strangely behaving animals and apparent descent into madness are a function of William and Katherine’s religious paranoia or the handiwork of Satan.
Until now, Eggers has worked as a production designer and art director for independent films and TV shows, his visual depth and fluency giving “The Witch” a look that is both austere and improbably rich. Aided by Jarin Blaschke’s cinematography and a slashing, dissonant score by Mark Korven, Eggers plunges viewers into a world of icy severity and harsh deprivation, putting the lie to the cozy American myth of resourceful, poor-but-happy settlers. (Viewers could profitably debate the far more novel and sophisticated critique of Manifest Destiny in “The Witch,” as compared with the overwrought theatrics of “The Revenant.”)
Eggers reportedly based his script on actual diaries and accounts from a time that predated the Salem witch trials by several decades, giving “The Witch” the mannered cadences and rhythms of something written on parchment rather than celluloid (or, in this case, the data-capture chip of an Arri Alexa digital camera). It isn’t until the film’s graphic, gory denouement that Eggers’s command begins to slip, and “The Witch” enters into conventional body-horror territory, its increasingly graphic imagery and keening pitch supplanting the more effective restraint and misdirection that have gone before.
For fans of horror at its most sinister, “The Witch” is not to be missed. It casts a spell that lingers long after its most disquieting mists have cleared.
Eggers reportedly based his script on actual diaries and accounts from a time that predated the Salem witch trials by several decades, giving “The Witch” the mannered cadences and rhythms of something written on parchment rather than celluloid (or, in this case, the data-capture chip of an Arri Alexa digital camera). It isn’t until the film’s graphic, gory denouement that Eggers’s command begins to slip, and “The Witch” enters into conventional body-horror territory, its increasingly graphic imagery and keening pitch supplanting the more effective restraint and misdirection that have gone before.
Other portrayals of magic highlight its darker and more dangerous aspects. In these stories, magic is often associated with sorcery and wizardry, and its practitioners are depicted as power-hungry individuals who seek to control and dominate others. Here, magic is seen as a corrupting force, one that can lead individuals down a path of darkness and destruction. In some tales, magic is portrayed as an inherent ability that individuals are born with. In these stories, magic is a part of one's identity and is often passed down from one generation to the next. This type of magic is seen as a gift, but also as a burden, as it comes with great responsibility and can alienate individuals from society. Other stories portray magic as a learned skill, something that can be acquired through practice, study, and dedication. In these narratives, magic is often portrayed as a symbol of knowledge and wisdom, and its practitioners are seen as scholars and intellectuals. Beyond these broad tropes, there are numerous variations and nuances in how magic is portrayed. In some cultures, for example, magic is seen as a connection with the spiritual realm, while in others it is associated with mythological creatures or mythical artifacts. Some stories even portray magic as a form of technology or advanced science. Ultimately, magic is a concept that defies easy categorization. It can be both a force for good and evil, a source of wonder and fear. Its depiction varies greatly across different cultures, reflecting the diverse understandings of the supernatural and the human fascination with the unknown. In the realm of fantasy literature, magic has been given countless names, each reflecting a different understanding or interpretation. From "sorcery" to "enchantment," "witchcraft" to "wizardry," these names evoke different images, conjuring up different aspects and connotations of magic. They serve as a testament to the vast richness and diversity of human imagination and our tireless quest to understand and explain the unexplainable..
Reviews for "The Shadows of Secrets: A Hundred Names for Dark Magic"
1. Jennifer - 2/5 stars - I found "A hundred names for magic" to be quite disappointing. The plot seemed promising at first, but it quickly became convoluted and confusing. The characters were underdeveloped and lacked depth, making it difficult to connect with them or care about their journey. Additionally, I felt that the pacing was off, with certain parts dragging on while others rushed through important plot points. Overall, I was left feeling unsatisfied and let down by this book.
2. Michael - 1/5 stars - I struggled to finish "A hundred names for magic" and would not recommend it to others. The writing style felt disjointed and overly descriptive, which made it difficult for me to become immersed in the story. The magic system was presented in a haphazard manner, leaving me with more questions than answers. The characters lacked development and their actions often felt arbitrary and illogical. Overall, I found the book to be a confusing and frustrating read.
3. Sarah - 2/5 stars - "A hundred names for magic" had an interesting premise, but it fell flat for me. The world-building was inconsistent and contradictory, making it difficult to fully understand or believe in the story. The pacing was slow and plodding, with little action or excitement to keep me engaged. The characters were also quite forgettable and lacked depth, making it hard to invest in their journeys. Overall, I found this book to be mediocre and forgettable.