Originally made under the title of Jack’s Wife, George A. Romero’s story of an unhappy and lonely suburban housewife who gets involved in witchcraft was cut by its distributor and was launched as a softcore pornography film called Hungry Wives. Years later, when Dawn of the Dead experienced success, it was released as Romero had envisioned and Season of the Witch ended up as one of the most peculiar items in the filmmaker’s respected portfolio. Described by its author as more of a feminist film than a real horror picture, Season of the Witch was shot with a small crew in the North Hills suburbs and Pittsburgh, while the production process was hindered by financial problems.
“This is as effective a film as the director has made,” it says on AllMovie. “In many respects years ahead of its time, assuming a position more extreme than The Stepford Wives or even, for the most part, Thelma and Louise.” Somewhat different than the rest of Romero’s canon, Season of the Witch is an intriguing piece with bold and clever social commentary shaped as an unusual drama that’s, at its best, just as captivating as the movies that made Romero a legend.
In 1972 a neophyte Spanish media company created a rare platform for artists to explore classic genre imagery with a sophisticated cinematic sensibility.
After Peter Hyams made a successful TV movie called "Goodnight, My Love", producers Robert Chartoff and Irwin Winkler approached him with the desire of...
