A look at how the context of early 1970s Britain affected the themes of Robin Hardy's 1973 horror film.
In this essay I explore how Robin Hardy’s 1973 horror The Wicker Man explores the social fears of 1970s conservative Britain. The Wicker Man has the Christian Sergeant Howie travel to the Pagan Summerisle to find a missing child. The Summerisle natives are uncooperative and test Howie’s faith in various ways, including flirtation from Willow. Howie finds the girl and attempts escaping but soon realises that he was set-up. Lord Summerisle reveals that he will sacrifice the virginal Howie in hope that it will cause a successful harvest, after the previous one failed. Howie is thrown into the wicker man and burnt as the natives sing.
1970s Britain was a ‘decade of confusion and change’ (Barber 2013:16) with events including ‘the political activism of second wave feminism and gay rights and the music industry’s defiant Rock against Racism’ (Barber 2013:16) as evidence of this. The Wicker Man shows a clash between an old, conservative, Britain, and a new changing Britain. We see xenophobia and fears of the shift towards racial, gender and sexual equality in a decolonising Britain, with Christianity also in decline. This context influenced every aspect of the film, including its narrative, themes, casting, editing, mise-en-scene, and soundtrack.
When analysing early 1970s Britain, it is important to look at the 1960s. In 1967 we saw movements towards sexual liberation. Homosexual acts between two men, 21 or over, and in private and abortion were legalised.
The Wicker Man is extremely sexual, immediately obvious from Christopher Lee’s casting, whose Dracula performance had ‘sensuality [that] […] hinted that women might quite like having their neck chewed on by a stud’ (Stanley 2015) and Britt Ekland’s, who ‘had made it as a model not an actor.’ (Simpson 2013) The sexuality of their characters in The Wicker Man opposes Neil Howie who is remaining a virgin until marriage. This shows the clash that was happening during this sexual revolution and there are several scenes where Howie, and the audience, face it directly.
Firstly, bar patrons sing Landlords Daughter with the lyrics: “nothing can delight so as does the part that lies between her left toe and her right toe.” As the men sing, Willow dances gleefully, surprising Howie, and a conservative audience, because of its crude lyrics and open celebration a woman’s promiscuity with even her father enjoying the song. ‘In England 75% of women marrying between 1971 and 1975 reported they had sex before marriage,’ (Clark, Burgoyne: 2019: 33) so there was a growing sexual freedom among women after abortion was legalised. During this scene, the bar patrons are in a close-up shot singing loudly meaning there is no escaping them, Howie feels this too, becoming overwhelmed and demands to have supper in his room.
Howie isolates himself from this proudly sexual atmosphere to ignore it, but he cannot as when he leaves the bar, he sees multiple couples having sex in public, filling the frame. Many women have their chest out and it is in slow motion, increasing the onscreen duration and the uncomfortableness for the audience, particularly the sexually repressed, like Howie. We see a conservative fear where sexually liberation leads to people having sex in public. This scene parallels a real world clash between ideologies which is the 1970 Isle of Wight concert where there were ‘scurrilous stories about sex and drugs, outraged locals and photographs of nude (mostly female) bodies.’ (Glen 2020) The biggest clash between sexual repression and sexual liberation happens in Willow’s dance scene. Howie, in full pyjamas, is unable to pray as Willow knocks against his wall. She is naked, singing to Howie “please come.” It cuts back to Howie, with his shirt unbuttoned. Even though the two are not in the same room it is edited to seem like they are and feels as though Willow has supernatural powers to lure Howie. She is filmed in a softer frame than Howie, making her more beautiful and dreamlike, especially compared to Howie’s plain reality. Willow turns and faces the camera, again, the walls that should exist are transcended. Now the audience, particularly the sexually repressed, face the same direct challenge as Howie. Ekland was known for her blonde bombshell sex appeal and Hardy is representing media and celebrities becoming increasingly sexual and even if the conservative audience disapproves of it, it is difficult to ignore the almost supernatural, sexual power these stars have.
Although homosexual acts are never shown, it is implied in many ways (such as Summerisle’s drag costume) that traditional concepts of gender and sexuality are above Summerisle. One argument that conservatives have against homosexuality becoming legalised is the slippery slope fallacy where ‘it was typically claimed that if same-sex marriage were legalised, there was a danger that polygamous or incestuous marriage might follow.’ (Jowett 2014: 9) Fear of this was clearly true when looking at the limitations the 1967 sexual offences act had.
The slippery slope fallacy is portrayed in this film with paedophilic implications. Boys dance around the phallic symbol of the maypole, making masturbatory gestures and sing about reproduction, directed by an older, male, teacher. The dance ends with students clinging to the maypole. In the classroom, girls are being taught by the older woman about the penis being the “generative force in nature.” Not only is there paedophilic implications and glorification of sex to the youth but it, as Howie states, “stems from the filth taught in the schoolroom,” and is given official approval on the island. Even Lord Summerisle is enthralled seeing the underage girls leaping through the fire, naked.
The Wicker Man also highlights xenophobia. When Howie is on Summerisle we get this feeling of isolation through editing and cinematography, with Howie often alone in the frame against groups of Summerisle natives. The camera is also always brought back to Howie, so it is him who we most sympathise with and perceive Summerisle and its people through.
Summerisle at first seems dreamy with wide shots of greenery, and a joyful folk song. Oddly however, there are palm trees, which have been described in as ‘a species which has no rightful, natural place [in Summerisle].’ (Bartholomew 1977:10) This is how the people of Summerisle view Howie. Palm trees also link Summerisle to formerly colonised countries where they would grow naturally.
The idealistic view of Summerisle changes when the natives become hostile and suspicious to both Howie and the audience. The fact that everyone, even the missing girl’s mother, is not aiding the investigation brings forward two negative ideas about Summerisle. The first is that Summerisle is without laws, at least British laws, as Howie’s badge means nothing to them. The second is that everyone in Summerisle is evil, not individuals but the island, their beliefs, and their society.
Summerisle is less technologically advanced than the mainland. This can be seen by comparing their wooden boat to Howie’s aeroplane. The Summerisle natives have no televisions or much else that would give the idea of 1970s Britain. If not for the electrical lighting Summerisle would seem medieval. This idea is amplified by their dated belief of Paganism.
Summerisle also seem more primitive than mainland Britain because of their close bond to animals. They believe that the dead resurrect as animals and at the May Day celebration residents dress up as various animals. Although this is part of Paganism, the fact that it is highlighted throughout and Howie’s disapproval of it all, makes us see the people of Summerisle’s animalistic connection in a negative, insulting way.
Summerisle is also portrayed as foreign and odd is because of its superstitious beliefs. Again, highlighting that Summerisle is less advance than the mainland, we see strange medical practices, including a foreskin jar at the pharmacy and a girl holding a frog in her mouth to cure her sore throat. Superstitious medical practices are not exclusive to Paganism, there is also voodooism and obeahism. This is fitting as ‘colonial officials frequently associated Obeah with poisoning, witchcraft and other antisocial practices, which resulted in a persistent stigmatization of Obeah practice that continues to the current day.’ (Browne 2009:7)
Viewing The Wicker Man through the colonialism lens gives us insight into a conservative view of colonialised countries. Howie comes to Summerisle with the intention of helping. If the Summerisle natives allowed Howie to help and helped him, it would benefit them. If Summerisle allowed mainland culture to take over it would bring in modern medicine and technology so the natives would not rely on barbaric practices to get crops.
However, when this film was created most of the British empire had dissolved. So, the view is that even though the colonised countries would benefit from Britain’s intervention and Summerisle from Howie’s, it is too dangerous to help these countries. Howie’s attempt at helping led to his demise and for Britain, for example, there were riots and protests in African colonies. The conservative solution is to separate these countries and cultures from us, in fear of being attacked.
Even though our protagonist is a conservative Christian and there is a portrayal of conservative fears as being reality, it is not a pro-conservative or pro-Christian film. Robin Hardy himself has stated he ‘was an agnostic’. (Bartholomew 1977:10) Howie, although our protagonist, is not an extremely likable figure, he is prude, humourless and judgemental. Woodward’s ‘slightly wooden presence and stiff posture,’ (Bartholomew 1977:6) performance makes him reminiscent of Mary Whitehouse. Howie becomes disgusted at a naked woman crying on her partner’s grave of, but rarely mentions his fiancé and never talks about her passionately. It seems like he is marrying her for structure.
‘Christianity proves in Howie's practice to be hypocritical. closed. a bit cruel.’ (Bartholomew 1977:6) Howie viewing Paganism as barbaric seems hypocritical because he fails to acknowledge Christianity’s own barbarism such as the Salem witch trials and KKK lynching’ and is unaware that Christianity was influenced by Paganism. For example, ‘what is today thought to be a celebration of the birth of Christ began as the pagan midwinter festival.’ (Dunkle, Cobb 2011) This highlights two critiques of the xenophobic view that conservative Britain had of the colonised countries as less advanced than Britain. It ignores Britain’s barbarism, especially during the process of colonialism and it ignores how the “backwards” societies invented much of what considered British tradition, such as tea.
Throughout the film Howie wears his police uniform and through this ‘he affirms himself not so much as a single man but as an agent of the government. of the police, a superior authority.’ (Bartholomew 1977:6). However, the uniform means nothing on Summerisle. Howie keeps this uniform on anyway to give himself the illusion of having great power.
Additionally, when Howie finds Rowan, we get a dramatic tonal shift. There is a powerful electric guitar soundtrack and a dangerous chase through the cave, as if he was an action hero. However, Howie is still wearing the fool outfit and is being led to his death. This all represents conservative Britain sculpting an unrealistic image of itself as a powerful hero, especially during colonial times, when they are really the fool.
When Howie asks Summerisle about a Christian God’s view of Summerisle, Lord Summerisle states that He is “dead; He can’t complain. He had his chance, and […], he blew it.” This became increasingly true as 1960s Britain went ‘from […] 'Christian country' to 'civilised society'; (Webster 2008) and the concept of Christendom had been wounded.’ We get a shot of Howie alone in the bar not having any fun because, as many problems as there are with Paganism and Summerisle, many no longer believed in the Christian God.
The originally suggested ending had Howie survive because rain put out the fire as a divine intervention. However, Hardy stuck to what he wanted and so, despite Howie’s pleads, prayers and songs, God does not save him. Staying so truthful to God and remaining a virgin is what lead to Howie’s demise. ‘We realize that what affects us is precisely what we ourselves are prepared to do people and not what a third force will do for us.’ (Bartholomew 1977:16) Making sacrifices, even in your own life, to higher powers (both spiritual and political) is pointless because they will be ignored.
The Wicker Man is against extremism and extreme dedication to any political belief or religion. Howie and Summerisle are extremists as both would rather die than betray their faith. The film portrays a world that conservative, Christian, Britain would have feared coming to fruition in a far-left society but their world and their ideology, represented by Howie, also has faults, damaging traditions, and can also be barbaric. However, both sides will forever believe in their own ideas and never attempt to understand the other. The film ends with ‘the two worldviews [standing] face to face, both unmasked, and in the end, nothing is resolved.’ (Greydanus N/A)
To conclude, Robin Hardy’s horror explored fears of 1970s conservative Britain. Including, fears of sexual liberation, xenophobia, the consequences of decolonisation and the decline of Christianity. Mise-en-scene, narrative, casting, and sound show these fears through the eyes of a strict Christian police officer. However, we do not sympathise with him entirely and see how he is hypocritical, prude and foolish in his beliefs. As the wicker man burns and the natives sing, the audience cannot see a side they would like to be on. Instead, they realise that extreme fear and extreme belief is inevitably and unnecessarily destructive.
Bibliography
Films
· Fisher, Terence (1958) Dracula
· Hardy, Robin (1973) The Wicker Man
Online
· Dunkle, Frank. and Cobb, David., (2011). Paganism In Christianity. [online] United Church of God. Available at: <https://www.ucg.org/vertical-thought/paganism-in-christianity> [Accessed 2 April 2021].
· Glen, Patrick., (2020). Hippy dream or total nightmare? The untold story of Isle of Wight 1970. [online] The Guardian. Available at: <https://www.theguardian.com/music/2020/aug/25/hippy-dream-or-total-nightmare-untold-story-isle-of-wight-festival-1970-hendrix> [Accessed 14 April 2021].
· Greydanus, Steve., (n.d.) The Wicker Man (1973) | Decent Films - SDG Reviews. [online] Decent Films. Available at: <http://decentfilms.com/reviews/wickerman1973> [Accessed 4 April 2021].
· Simpson, Dave., (2013). How we made The Wicker Man. [online] The Guardian. Available at: <https://www.theguardian.com/culture/2013/sep/24/how-we-made-wicker-man> [Accessed 12 April 2021].
· Stanley, Tim., (2015). Why Christopher Lee's Dracula didn't suck. [online] The Telegraph. Available at: <https://www.telegraph.co.uk/film/what-to-watch/christopher-lee-dracula-movies-hammer/> [Accessed 9 April 2021].
· Webster, Peter., (2008). The Religious Crisis of the 1960s | Reviews in History. [online] Reviews.history.ac.uk. Available at: <https://reviews.history.ac.uk/review/664> [Accessed 14 April 2021].
Books
· Barber, Sian., (2013). British Film Industry in The 1970s. Basingstoke: Palgrave Macmillan.
· Clark, David. and Burgoyne, Jacqueline L.., (2019). Marriage, domestic life and social change. London: Taylor & Francis
Articles
· Jowett, Adam., 2013. ‘But if you legalise same-sex marriage…’: Arguments against marriage equality in the British press. Feminism & Psychology, 24(1), pp.37-55.
Thesis
· M. Browne, Randy., 2009. “This Bad Buisness”: Obeah, Violance and Power in a Nineteenth-Century British Caribbean Slave Community. North Carolina: Chapel Hill.
Magazine
· Bartholomew, David., (1977). The Wicker Man. Cinefantastique, vol. 3, no. 6, pp.4-19, 32-48.
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