Producer: Albert Fennell. Executive producers: Julian Wintle and Leslie Parkyn. An Independent Artists Production. (Available on a severely cut (to only 83 minutes) DVD from Optimum Home Entertainment).Copyright in the U.S.A. 10 March 1962 by Alta Vista Productions. Presented in the U.S.A. by James H. Nicholson and Samuel Z. Arkoff. U.S. release through American International: 25 April 1962. New York opening at neighborhood theaters on a double bill with "Tales of Terror": 4 July 1962. U.K. release through Anglo Amalgamated: 13 May 1962. Banned in Australia. 87 minutes in the U.K. 90 minutes in the U.S.A. U.S. release title: Burn, Witch, Burn.SYNOPSIS: Tansy Taylor, the wife of an English university professor, secretly practices witchcraft to further her husband Norman's career. When he accidentally discovers this, he destroys her instruments of magic. Following Tansy's warning that his action has left him vulnerable to evil forces, Norman's luck changes.NOTES: Location scenes filmed in Penzance, Cornwall.COMMENT: Directed with authority and style. The script, however, seems far-fetched, and the transformation of Professor Carr is a bit hard to take. One of the most telling points against the script's credibility is that Tansy (silly name!) makes no attempt to tell her husband that a member of the faculty is practicing voodoo. Instead, she talks vaguely for hours about protection. Why isn't she specific?The special effects are faultless, whilst photography, music, and especially Ralph Sheldon's sharp film editing contribute greatly to the picture's eerie atmosphere. Indeed, Gilbert Taylor's camera-work — both on location and in the studio — is astonishingly creative, considering the shoddy work he often turns out for quota quickies.Janet Blair walks off with the movie's acting honors. The other players, however, are never less than able.

A dashing young professor with his star on the rise is disturbed to find his wife using witchcraft to protect him from the envy of his peers. But his logic flies out the window when malign forces come to beat down his door.Decent thriller with a blend of the psychological and supernatural. The story is solid, although it mostly feels like a padded out episode of The Twilight Zone until the trippy ending elevates the terror. There is a mis-step in the plot, as the rape allegation trails off without giving an insight on the antagonist and it's only when you think back that it makes sense. And the car accident is annoying, with no favours done for the credibility of the hero.It's well shot, especially the seaside locations in Cornwall and the close ups on the veeery interesting face of the actress playing Flora. I do think the lead actress was miscast as she's not sufficiently fey or sweet.The music is dramatic, though not overdone.

A demonstration that a lot can be achieved on a small budget by imaginative filmmakers. The intensity of this movie took me by surprise. I had expected something more plodding, along the lines of Hammer fare from the same period. Instead, here we have inventive camera-work (DOP Reg Wyer, cameraman future DOP Gerry Turpin), a hardworking score by William Alwyn, and a thoughtful leading man in Peter Wyngarde. Director Sidney Hayers had come from TV, where he seems mostly stayed thereafter - a pity, as he clearly rose to the challenge of this material.Best of all are the two excellent performances by Janet Blair and Margaret Johnston. The former, an American who had to come to England to get a part that demonstrated she could really act. The latter, a distinguished stage actress who pulled all the stops out for this rare leading screen role.The pace of the film slackens here and there, but recovers in time for a splendid finale. A couple of scenes would have benefited from retakes because of technical glitches, but I suspect there just wasn't enough money left to do them. It's certainly no worse in this respect, though, than NIGHT OF THE DEMON, which is a clear influence. The Jacques Tourneur movie is more satisfying because of the tautness of its screenplay, but in every other way NIGHT OF THE EAGLE (aka BURN, WITCH, BURN) is as good. I wish it were better known. It certainly deserves to be.

Night of the Eagle (AKA: Burn, Witch, Burn!) is directed by Sidney Hayers and adapted to screenplay by Charles Beaumont, Richard Matheson and George Baxt from the novel "Conjure Wife" written by Fritz Leiber. It stars Peter Wyngarde, Janet Blair, Margaret Johnston, Anthony Nicholls and Colin Gordon. Music is by William Alwyn and cinematography by Reginald Wyer.Psychologist Norman Taylor (Wyngarde) is rocked when he discovers that his wife Tansy has been dabbling in witchcraft. She is adamant that it keeps them from harm and is the reason why his career is flourishing. Not convinced at all, Norman sets about destroying all of Tansy's paraphernalia and soon finds his life taking a drastic downturn…What is neurosis? A nerve-change, the physical basis of consciousness as distinguished from psychosis.This, the second of three adaptations of the Leiber novel to get the big screen treatment, is easily the best, a smouldering suspenser ripe with paranoia and atmospheric unease. Subtle in pacing, it's a marked lesson in gaining the most out of suggestion and understated story telling. Clearly not armed with a gargantuan budget, Hayers and his team rely on the strength of writing and acting to let this Eagle soar, and soar it does.Rites and Practice in Black Magic.The back drop is a place of academic studies, where the faculty indulge in get togethers, of drinks, snacks and card games, but this is all a false veneer. Lurking underneath is a veritable hot-bed of spitefulness, jealousies and bitter rivalries that come to the fore once the black magic forces of evil gather to destroy the Taylors.I do (not) believe.It builds with ambiguity lurking overhead, ensuring the belief system of Norman Taylor and the audience is constantly tested, and then the coiled spring is unleashed. The effects work may not be up to much, but it matters not, the impact is considerably suspenseful, even frightening. No gore or histrionics here, just damn great supernatural film making. 8.5/10