Necromancy 1972 123movies

Watch: Necromancy 1972 123movies, Full Movie Online – Mr. Cato is the head of a witches’ coven in the town of Lilith, where he needs the powers of Lori Brandon to raise his son from the dead..
Plot: After Lori Brandon suffers a stillbirth, her husband Frank obtains a job with a toy company in northern California. Frank’s new boss, the mysterious Mr. Cato, explains that Frank’s position will involve magic. Cato, who seemingly holds enormous influence over the town, is pursuing the power of necromancy and believes that Lori holds the key that will help him resurrect his own dead son.
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Ratings:

	4.6/10 Votes: 965
	N/A | RottenTomatoes
	N/A | MetaCritic
	N/A Votes: 21 Popularity: 3.848 | TMDB

Reviews:

Exquisite corpse
This drive-in schlockfest has Pamela Franklin starring as a Los Angeles woman who moves to a bizarre small town in Northern California with her husband (Michael Ontkean) where he is to be employed for a toy company. The longer she spends there, the more disconcerted she becomes over the influence his boss, Mr. Cato (Orson Welles), has on the townspeople, which consist exclusively of young, fresh-faced hippies with a taste for all things occult.

“Necromancy” had a troubled release history and was apparently re-edited to some degree in the early 1980s and re-released as a softcore film under the title “The Witching Hour”; the cut of the film I saw was apparently an early R-rated cut under the “Necromancy” title that is allegedly close to writer-director Burt Gordon’s original vision, if you want to call it that. “Necromancy” as a whole feels like a “vision” of sorts-a hazy, drugged-out romp through Manson family-era California, with a supernatural twist. It suffers terribly from disjointed editing and a general lack of cohesion, which is disappointing given that the narrative is actually quite straightforward.

The film will remain an eternal curiosity for Welles’s involvement, though his role is minimal and his presence generally underwhelming. The lovely Pamela Franklin (who many genre fans know and love from “The Innocents” and “Legend of Hell House”) is a formidable lead and does what she can with the material; a strappingly handsome Michael Ontkean plays her husband and is less impressive but still has a likable screen presence; and Lee Purcell (later of Wes Craven’s TV schlocker “Summer of Fear”) is aptly doe-eyed and dead-faced as a distant member of the town/coven trying to revive Welles’s dead son.

The film has a clever albeit rather standard twist that gives it a fun bite considering most of it is rather straightforward despite its acid-trip aesthetics. In the end, the film suffers greatly from serious disjointedness (presumably because it is so badly edited), but there are some ominous, utterly bizarre (and sometimes eerie) visuals throughout that are distinct to the era. Ultimately, what we have here is a drive-in-calibre occult flick, which, depending on who you are, may or may not be a complete delight. For visuals alone, I feel it’s worth watching, though it does present itself as a serious case of “what might have been.” 7/10.

All your horror cliches here…just minus real fright.
There’s a big bad Satanist who will drink no blood before its time, and he’s trying to create a war of the worlds between good and evil. It’s Orson Welles if you haven’t figured that out as of yet, the leader of a coven in a town conveniently known as Lilith. It’s stereotypical that a big brassy personality like Welles should be a cigar-smoking warlock, just as Shelley Winters was in a couple of TV movies (minus the cigar). The heroine is Pamela Franklin who is heading to Lilith, distracted by the tragedy of a car accident where the other car she swerved to avoid ends up going over a cliff, sending several people to their deaths. As fate would have it, they were involved in the coven, and now she must become a part of them so the dead can come back to life. It’s ironic that Welles is the only mature person involved in the coven, all of the others young and ambitious to get ahead through the powers of darkness.

The title indicates the power to bring people back from the dead, something Welles has always wanted to accomplish so in his words he can be equal with God. He’s fine in his acting, commanding and a bit over-the-top, given some great photography where he is seeing speaking with the fire conveniently in front of him as he appears in Franklin’s mind. She has the ability to see things that aren’t there which apparently includes a dead child who was in the car.

This does take the horror a step beyond what would probably be allowed on TV and that’s why this would have a big screen release. Overall, it’s more Erie than frightening, and I did not get chills ones even when Franklin believed she was being covered by screeching bats. It’s campy on the level of many other of the movies directed by Bert I. Gordon who had several films on this team and directed nothing other than horror or science fiction. In fact, it’s rather old-fashioned on many levels, certainly no rivalry to “Rosemary’s Baby” or “The Exorcist” or “The Omen” or the many other truly frightening occult movies that would follow. In retrospect, it’s actually a fine mix of grand guignole and unintentional comedy which means that I highly recommended on that level.

Other Information:

Original Language en
Runtime 1 hr 23 min (83 min)
Budget 0
Revenue 0
Status Released
Rated PG
Genre Horror
Director Bert I. Gordon
Writer Bert I. Gordon, Gail March
Actors Orson Welles, Pamela Franklin, Lee Purcell
Country United States
Awards N/A
Production Company N/A
Website N/A

Technical Information:

Sound Mix Mono
Aspect Ratio 1.85 : 1
Camera N/A
Laboratory Cinema Color, USA
Film Length N/A
Negative Format 35 mm
Cinematographic Process Spherical
Printed Film Format 35 mm