Simon, King of the Witches (1971) User Reviews

Far out, man!

[Hey_Sweden · 7/10 · 27 May 2013]

Talented veteran Andrew Prine is featured here in one of his delicious starring roles in 1970s exploitation. This is bizarre, trippy stuff certain to appeal to cult movie enthusiasts. Granted, it's pretty talky stuff, but it's still rather fascinating.

Written by a real-life practicing warlock, Robert Phippeny, it casts Prine as Simon Sinestrari, a charismatic "magician" who lives out of a storm drain. Simon is the real deal, and takes himself quite seriously. Seriously enough that when people dare to mock him or mess with him, he takes his revenge.

As directed by Bruce Kessler, this is truly offbeat from beginning to end. It saves all of its credits for the final few minutes, a practice that was far less common back in the early 70s. When Simon first makes his entrance, he addresses us directly, although this device is dropped right afterwards. It's got a deliberate pace, but Phippeny's dialogue is truly something to hear. There is a heavy dose of humour at times, especially when Simon has to help his eager young friend Turk (George Paulsin), who's gotten overly stimulated, if you know what I mean. Highlight sequences include Simon mocking the participants in a Wiccan ceremony, and the wonderful finale which pulls out all the stops.

The main attraction is a fantastic central performance by Prine, who commits deeply to his role. Co-starring are Brenda Scott (to whom Prine was actually married) as Simons' love interest, Norman Burton as her attorney father, and Gerald York as aging hipster Hercules, with underground celebrity Ultra Violet also making an appearance.

This is just enough of a curio to keep you watching. Undoubtedly it's very much a product of its era, but that's part of what makes it fairly compelling. You sure don't see stuff like this getting made nowadays.

Seven out of 10.

Nice period piece, not really gory.

[Scott_Mercer · 7/10 · 29 October 2004]

This is barely a horror movie. There are only a few deaths on screen, and very little blood. What this movie lacks in gore, it makes up for it with the concentration of Prine's performance, the period psychedelic fashions, and the amusing dialog and situations. Saw this here in L.A. at a revival screening this week. Andrew Prine was on hand and talked about the film for a bit. Apparently, this film was written by a real warlock, and this was "his story." This probably accounts for the deadly serious tone of someone writing a memoir with earnest purposefulness.

Prine took the film to make the jump from supporting roles to a lead, and he sank his teeth into the role, pouring all his intensity into a very stong performance. Even when he does something silly and laughable like talking to a huge tree ("Hello, my old friend, how are you?"), he remains utterly believable as that character, even though you laugh.

Fans of high Hippie Couture and silly psychedelic effects (dig the trippy "walking into the mirror" effect) have some good stuff here to treat their eyes with. (If you liked the look of "Psych Out" or "The Trip" you'll have a ball.) There's a fairly linear plot with a few twists, but overall an enjoyable ride. Recommended, if you can find it. I believe it is not available on DVD and the print that was screened was purportedly "one of only three in existence."

UPDATE 1/2008: Reports on the internet state that this film will becoming out on DVD, later this year, 2008. I will probably be picking up a copy when it comes out. It was quite an enjoyable viewing and I am looking forward to exposing it to my friends. Yeah boy!

Quite Interesting

[ml2348 · 5/10 · 27 January 2007]

Well - don't quite know what to think. Technically - it is a silly movie - but - it held my interest. For all its strange subject matter - have a liking for this film. It's hard to act on a distant theme as this one - and do it well. The special effect fit in nicely and were well done. Something of a thin plot - but not that noticeable. At least it wasn't too gory or too far out. A pleasant little movie to relax to. At least they didn't "try too hard" to make a movie of this genre. Most are silly at best - but - this fit in very well. For not having any well-known actors - they did very well with what they had. I wouldn't want to watch this one too often - but - for an occasional break - this film is ideal. There wa senough suspense to hold one's interest and wonder what will happen. It's a ob well done on a difficult theme. If you wish to discuss it - I'm at [e-mail]

Demented, surreal horror/head film.

[EyeAskance · 18 September 2003]

Andrew Prine, always a welcome face in B movies, has the lead role as Simon in one of the wackiest, most 'out-there' films of the early 70s. Simon is a bohemian magician who lives in a rain gutter, wowing audiences with his mystical talents. When he falls for the daughter of a prominent city official, expected problems ensue which are met head-on by a highly unorthodox rebuttal.

This is a trippy, 'turned-on' freakfest, loaded with waggish characters and situational discord...a quite likable film, too, which appropriately features Warhol Factory entouregette Ultra Violet. Sexmagic rituals, psychedelia, and gay overtones contribute to the slappy appeal of this under-appreciated counterculture wonder.

7/10

A Good Example Of '70' Exploitation Trash

[artanis_mark · 6/10 · 1 April 2020]

The early '70's were a weird time of flux in the movie industry. The break up of the old studio system along with the replacement of the Hayes Code by the much more permissive rating system led to a lot of different, daring experiments in film, some rated as among the most interesting, challenging efforts to come from Hollywood.

It also led to an incredible amount of shlock with really no artistic value whatsoever, just pure exploitation and titillation with an increased emphasis on sex and violence to draw young viewers to drive-ins and grindhouse theaters.

This review pertains to the latter category. Simon is an excellent example of an early '70's grade Z trash flick, right down to the almost non existent production values, cruddy special effects, acting both wooden and hammy, ludicrous dialogue replete with lines plainly meant for laughs, and a fair amount of naked female flesh, all played up to seem as decadent and sinister as possible.

The zero budget is reflected from the beginning when the protagonist, Simon (Andrew Prine), walks out of a storm drain into pouring rain and casually announces to the camera that he's a magician. Prine (a cousin of now ailing folk/country singer John Prine) does a lot to carry the film forward with his matter of fact, downright blase at times portrayal, often affecting an Orson Welles manner with a cigar clenched in his teeth and jovial bonhomie. Inexplicably well groomed and dressed for a guy who lives in a sewer, Simon takes up company with a cheerful male prostitute, Turk (George Paulsin), who introduces him in turn to Hercules, a rich, flamboyant gay man with a wide circle of friends. Through his charm and magical prowess, Simon manipulates Turk, Hercules, and everyone in their circle, most especially hippy chick Linda (Brenda Scott) who also happens to be the district attorney's daughter (Whoa!).

Things proceed in this silly, tacky, entertaining vein for over ninety minutes. Simon casts spells with his magic dagger with nothing but trouble and doom as the result for wealthy thrill seekers, hippy dopers, a ridiculously gay man out cruising, and most of all, poor, sweet Linda (although not a conventional beauty, Scott was an exceptionally pretty young woman). In addition to flaunting a lot of previously taboo subjects, Simon is an interesting period piece with a strange mix of outfits from straight hippy to early disco, all garish beyond belief, from the very beginning of the '70's, the era that good taste forgot. There's a funny scene where Simon and Turk attend a witches' coven with Warhol actress Ultra Violet as the den mother. The dialog is pretty snappy with Prine getting a fair share of the yuks. Example: at one point in the film, Simon rents a basement apartment. In the grumpy landlord's presence, he chalks a five pointed star on the stairwell. The landlord looks at the star and says: "Forgive me, rabbi! I didn't mean to seem prejudiced. I hope you enjoy your stay."

I recommend this film to '70's shlock aficionados. It should be right up their alley.

Witchy Whoa, Man

[NoDakTatum · 1/10 · 8 October 2023]

Andrew Prine, who has been pretty good in everything he has ever done except this, plays Simon, a man who practices witchcraft from his home in a storm drain. He meets Turk (George Paulsin) in jail, and Turk introduces Simon to Hercules (Gerald York), a local money man who has powerful friends and makes things happen. Simon also meets Linda (Brenda Scott), the district attorney's stoned daughter. Simon is bilked out of some money by a skeptical client, and kills him with a curse. Now, everyone wants Simon's services. Simon has big plans of his own- he wants to join the other gods he worships, and help rule the world. Those plans go awry, and Simon takes revenge on the city, and those around him.

This came out in 1971, and features every reason people roll their eyes when others wax nostalgic about 1970's hippie culture. Director Kessler pulls all the psychedelic stops here, the climax looks like rejected scenes from "2001: A Space Odyssey." The cast throws around terms like "cat," "groovy," "far out," "weed," and "pad." The wardrobe is hallucinogenic, with the designs assaulting your senses. One character's bisexuality is treated with reverence, as if an important social point was being made. Linda is stoned all the time, which makes her the character you care the least about. Simon's incantations are ludicrous and funny. Most of his "witchcraft" consists of waving a dagger in the air and reciting "electric, magnetic" repeatedly- watch for the scene where he has a one-sided conversation with a large tree. This film tries to be serious, almost like a docudrama, but fails. It is funny, without meaning to be. "Simon, King of the Witches" is smoke and mirrors.

Where's Charles Manson when you need him?

[Coventry · 4/10 · 26 November 2008]

Definitely one of the strangest 70's horror films I've encountered thus far, and believe you me, that is saying a lot! Right from the first moment, when a guy comes walking up to the camera from out of the rain and addresses the audience saying: "My name is Simon… I am a magician", you already know this won't become an ordinary type of witchcraft movie, but a bizarrely experimental independently produced fable with blackly comical aspects and a ludicrous script. Simon is quite an engaging fella… He lives in the sewers, drivels wildly about his liaison with the Gods and a whole bunch of other stuff that doesn't make one iota of sense and he's in control of a malignant red chemical ball that kills people. He also talks to trees, describes himself as irresistible and disrespectfully interrupts gatherings of other and supposedly treacherous religious cults in the middle of their holiest of rites. How can you not like a guy like that, especially if Andrew Pine - who's a veteran B-movie actor - depicts him? Unfortunately, however, Pine's tongue-in-cheek performance is the only truly terrific element of the entire film and it's sadly not enough to save it from the inevitable eventual descent into boredom. The movie doesn't have an actual plot. It's merely just a series of wacky adventures out of the life of a magician. Simon seduces the daughter of a hateful district attorney, demonstrates his magic capacities to a few non-believers, becomes the idol of a bunch of dope-selling hippies and eventually becomes punished by the Gods for his haughtiness. There are a number of things going on, but nothing really consequent or involving. Initially, I – and surely many other people with me – was expecting the Simon character to be a truly malicious and relentless self-acclaimed occult deity, kind of like the figure Charles Manson that was headliner news around that time. Instead, Simon practices a more or less "white" type of magic and that is automatically less appealing to bloodthirsty horror fans. There's nothing truly horrific or even remotely unsettling going on in this movie, apart from a whole lot of talking about witchcraft and a little bit of tacky laser & light show effects. I am aware of the fact "Simon, King of the Witches" gradually built up a tremendous cult reputation throughout the years and, solely based on the opening 15 minutes I presumed this was entirely justified, but I can't help admitting my viewing experience ended with disappointment.

One the few "realistic" movies on this subject

[snobdok · 9/10 · 7 February 2014]

It is a very odd 70's movie and I watched (parts of) it again recently after many years. What makes it unique is that it is the only movie that portrays the life of a magician in a realistic way. This is especially true for those who have been into the occult for a long time. Besides from that, it was also well acted and the story quite interesting in other ways. So it's highly recommended for those who wants to now what the life of a occultist is really like. How it becomes, the pitfalls, and the consequences that can follow from doing certain things. The name of the character is also a hint of what kind of magician he really is. Still one (at least I did) roots for him for most of the movie.

Never write a warlock a bum check!

[moonspinner55 · 3/10 · 7 December 2017]

Andrew Prine is the whole show in this otherwise thoroughly disappointing occult thriller which has a modern-day warlock named Simon, an actual magician of the black arts, living in a storm sewer and befriended by a young hustler with connections to a decadent circle of people. After one of the wealthy naysayers crosses Simon--and writes a bad check for his tarot reading--the male-witch is challenged to exact his revenge (and he must do so or lose his power). His talents also come in handy when his friend needs help seducing a married lady, or when the district attorney and the chief of police come down hard on the local potheads for using, but soon Simon finds himself at the mercy of his own magic. Prine's pithy, hipster-cool approach to the titular role is almost charming at times, that is until Simon is turned into his own worst enemy. Prine is also the only actor in the cast capable of giving a performance, everyone else being an amateur. Director Bruce Kessler spends far too time on the goof-off dopers sitting in front of their TV set watching the news reports--did he run out of material? Also, the special effects (a bowl of roses wilting, a violent rainstorm, a bright red specter) are sub-par. There's also a curious gay vibe early in the movie that is soon proved to be a false lead: Simon's buddy comes on like a midnight cowboy, a streetwise teen-swinger, but is soon revealed to be just a regular boy with a crush on a girl. In the film's worst scene, he sets up a "faggot" for Simon is to use in a ritual to create a supernatural charge, which is played for a nasty laugh yet shows the direction screenwriter Robert Phippeny was inclined to take: put the plot into motion with a 'realistic' portrait of a magician, then undercut the scenario with crude humor and melodrama. *1/2 from ****

Love it!

[sunznc · 9/10 · 30 October 2013]

It's always a delight to discover a new obscure film. Even if from 1971. I'm discovering that the films of the 70's are some of the best and this is one of them.

The film is about Simon, a modern day warlock who takes his witchcraft very serious. He may be homeless but he was born with power and challenges others who are skeptical of his skills as a witch.

The film is vibrant, colorful, earthy, and isn't afraid to touch on many topics that back then were a bit taboo. I can imagine some people probably thought this was quite bizarre when they first viewed it. Of course, today young people would be put off by the low budget optical effects, and they are a bit dated, but there is no denying Andrew Prine's mesmerizing performance and his belief in this character. Many actors today cannot achieve this deep committed level of concentration for their character.

It isn't a perfect film. There are a few moments that feel made for TV and as I mentioned the optical effects are dated. But there is no denying the interesting characters and the commitment everyone made on this film. I can't wait to watch it again.

Disturbing view of the onslaught of an evil apocalypse.

[mark.waltz · 3/10 · 17 March 2020]

Yes, Andrew Prine gives a superb performance in this psychological horror film that shows a cult like society lead by Satan worshipers who seem nothing more than society dropouts, overloaded with psychedelic drugs, kinky sexual rituals and the need to recruit the young, vulnerable and eternally stupid. Think Central Park hippies from "Hair" hiding out, having strange ritual ceremonies, casting spells that apparently bring out acid trips without the benefit of acid, and ultimately a huge storm that seems to be leading to the end of the world. The effects are ridiculous, some characterizations outrageously offensive, and in spite of a phony charm, the leading character massively unappealing. What was the point of the homosexual making a pass at Prine's young friend only to end up as a part of a ritual (in an effort to put a curse on him) where nothing really seems to be an outcome. Brenda Scott, Prine's real life wife, has a pointless part of a girl he does a sexual ritual with. This is not even unintentionally funny although I did giggle at the gay man's Dorothy Hamill hairstyle.

Andrew Prine at his best!

[Serpent-5 · 1 June 2000]

This is a enjoyable little film that has Andrew Prine as a warlock who lives in the storm drain underneath the city. He meets a hippie who takes to a rich guys party and he encounters adventures and later wages war on the entire police force. Lots of great scenes, and Prine give a real honest performance. Character actors Normann Burton and Angus Duncan also are good. Recommended.

Knowledge is Powder

[Tweetienator · 5/10 · 12 January 2022]

Don't mess with the black magick voodoo child - as everybody should know, not every spell works too well, and the devil just likes to lurk and watch behind your shoulder. Simon, King of the Witches does not provide a solid and dependable initiation to the left hand path but some fun and Hokuspokus and Abracadabra, a skull here and there and some trippy stuff (mushroom induced I bet) and voila we got a dive into the wonderland of mainstream occult fantasy. Good fun, if you like such kin.

Funniest movie in months, Prine is Magnificent

[Steve_Nyland · 8/10 · 21 November 2003]

SIMON KING OF THE WITCHES is the funniest movie I have seen in months. After reading about it for a few weeks while on my present witchcraft & occult kick I tracked down an old rental tape, poured myself a bowl of Booberry and sat down to a screening last night -- and was delighted to find a witty, self aware little thriller/comedy with some nice post Haight-Ashburian sensibilities, at the center of which is Andrew Prine in the most sadly Oscar nomination deprived performance aside from John Phillip Law's performance from OPEN SEASON. Andrew Prine will be forever linked to depraved, exploitation and horror films for one effort, the horribly misnamed BARN OF THE NAKED DEAD, but SIMON clearly demonstrates that he was an actor who worked with calm assuridity in the face of the absurd ... Simon is a warlock, an occultist magician who approaches his work with the sober seriousness of a plumber or electrician -- "It's just another professional trade" he exasperatedly tells one naysayer, and in fact the best parts of SIMON is when various doped up or stupid San Francisconians ask him to show them a magic trick or prove he really is a witch. Nobody listens when he tries to tell them that it is not the brimstone & abbey they know from fiction and is forced to oblige, with the outcome more often than not having comic results.

Viewers looking for a depraved, sexually amoral satanic cult flick will be disappointed: there is only one witchraft & sex scene and it serves a role to the plot -- sorry! The tape's box promises "naked satanic orgies and human sacrifice" and yet both of these elements are displayed not in an attempt to Arouse or Gratify, but to ridicule those who have an erroneous impression of what witchcraft is about -- Simon visits a modern day coven of "witches" with his young charge and ends up hopping around on a push-broom at the end while the naked participants throw things at him and howl disapprovingly. Overdone, but hilarious.

**SPOILER WARNING! *** The plot that the movie purports to tell involves Simon's attempts to put a hex on the local district attorney and the corrupt vice cops cracking down on the poor, hapless kids who sell grass and seem to share the same seven or eight brain cells. He does, but the plan backfires and Simon ends up being killed at the end by one of the kids at his own behest, willingly or no. All of this is of no importance to Simon, because death isn't an end, just sort of a cooling off period between lives. I like that.

But what the film is really about, I think, is how stupid modern Americans are about "the spirit world" and those who purport to be able to connect with/control it. In many ways Simon's character is closer to a shamanistic ritual expert than a satanic witch, and I was pleased with how the entire story is told from a secular point of view -- we never hear about Satan or God, but about nature, cause & effect of human actions, and how Simon is merely a trained professional who can influence the nature of both humans, the elements, and also potted plants perched on high placed ledges. Simon's greatest magical feat in the film is to cause an unidentified cylinder of metal to glow like a lightsaber ... and is never referred to again. This is either because the filmmakers were more interested in showing Simon's interaction with other humans than conducting the ominous, quasi-sexual rites the tape box promises. Some of the 70's drug and lifestyle reference jokes get tiresome (he role of a homosexual man is used just to poke fun at gays, which this movie should be above but what the hell it was 1972), and it would have been nice to see Simon have another go at the naked sex incantation he attempts with the female "love interest" role that is more of a professional association than a romance.

But whatever: I found this movie to be remarkably enjoyable, light hearted and still have moments of poignancy that made me think about my own ideas about occult and the witchcraft phenomenon that dominated American horror films from about 1971 until 1975. Usually the tact would be to follow a character through a series of encounters with those possessed by or in league with Satan (RACE WITH THE DEVIL being one of my favorites), but we rarely get to see the picture from the occultist's point of view -- It is amusing to find the one film that does, and to find that the Warlock in question views his profession with as much romanticism as employees of a bank feel about money. My single favorite moment from the film? When Simon and his charge set about building an altar in his sewer pipe home --

"With lumber by Wyman Brothers." Not sure if that was supposed to be a plug or a joke, but you gotta love the matter of factness behind the line, and the whole film plays out with an equal taste for the blasé. HIGHLY recommended if you can find it, and Prine should get one of those Lifetime Achievement awards, perhaps sharing the stage with John Phillip Law for an acceptance speech for the ages. I'd tune in for that.

8/10, and you can stuff your silly horror movies. Simon is Real.

It's a groovy gas, baby!

[Woodyanders · 8/10 · 14 February 2008]

Powerful and charismatic warlock Simon Sinestrari (superbly played with lip-smacking aplomb by Andrew Prine) resides in the Los Angeles storm drains and ekes out a living entertaining stuck-up hippies at posh parties. Simon uses black magic to get revenge on those folks who dare mock, scorn and persecute him. Director Bruce Kessler, working from a witty and intriguing script by real-life practicing warlock Robert Phippeny, delivers an offbeat and enjoyable slice of vintage early 70's horror exploitation weirdness. This film hits its fabulously freaky zenith during a gloriously lurid Satanic ceremony. The cast are all uniformly fine, with nice performances by Brenda Scott as the lovely, smitten Linda, George Paulsin as Simon's sweet, naive young best friend Turk, Angus Duncan as the arrogant Colin, Andy Warhol Factory superstar Ultra Violet as kooky devil cult leader Sarah, Norman Burton as stern, disapproving district attorney Rackum, and Richard Ford Grayling as pesky narc John Peter. Best of all, Prine really throws himself into his juicy lead role; he performs the spellcasting scenes in particular with tremendous flair and intensity. David L. Butler's slick, garish cinematography, the flavorsome period counterculture setting, a spooky'n'shuddery ooga-booga score by Stu Phillips, a pleasing surplus of tasty female nudity, and the gaudy low-fi special effects all further enhance the infectiously funky fun of this total trippy blast.

Andrew Prine and Brenda Scott together in Simon, King of the Witches

[lcmovie · 8/10 · 21 August 2009]

Simon, King of the Witches is a real gem. This must be the most unusual movie of its type I have seen. I was captivated at the start when Simon introduced himself. There is so much going on in this movie you really need to see it more than once to understand the storyline, events and eventual ending. The team of Andrew Prine and his then wife Brenda Scott was fascinating and it's not the first time they have acted together. Brenda Scott has always impressed in the more unusual dramatic story lines but sadly this time the film let her down. Prine has charisma and Scott has beauty and both go well together. The only criticism I would make is that Prine "owned" this film. It was almost as though he needed to be in every scene to make sure it was a success. There could definitely have been more story lines for his co-stars but maybe that's the way it was intended. This movie is said to be hard to get and indeed my thanks go to the person who shared this on Youtube.

"Don't Touch Me! I'm A Religious Object!"...

[azathothpwiggins · 11 October 2021]

While in jail, Simon (Andrew Prine) meets a man and takes him back to his homey storm drain (!), and introduces him to the dark arts. In return, the man takes Simon to a party where he sells trinkets and amulets to the guests and bewitches a woman.

When someone tries to rip Simon off, he uses his hoodoo on him, which ultimately escalates into Simon's one-man war against the police, the mayor, and the entire city.

SIMON, KING OF THE WITCHES contains: #1- Hocus pocus AND mumbo jumbo! #2- Chicken AND human sacrifice! #3- A magic mirror! #4- Effluvium! #5- Awesome silk robes AND red underwear! #6- Full-frontal female nudity! #7- Hippie lingo! #8- The floating, red glob of doom!

BEST BITS: #1- The red glob of doom killing a man with a flower pot! #2- Simon's bizarre visit with the Queen of the Witches!

This is all supremely, insanely good fun!...

Positive negative!

[BandSAboutMovies · 10/10 · 3 April 2019]

Andrew Prine is an exploitation superstar. Just look at a few of his films: Grizzly, a bonkers ripoff of Jaws with a bear instead; The Town That Dreaded Sundown, a movie that can't decide if it wants to be a comedy or a brutal slasher and ends up being both while being awesome; Amityville II: The Possession, the scummiest movie perhaps ever put out by a major studio; and many more. Like this one, a film that skewers the youth culture of the early 1970's.

In this crazy slice of lunacy, Prine is Simon Sinestrari, the king of the witches who lives in a storm sewer. He sells his magic for money, just like his friend Turk sells his body. Together, they explore the world of drugs, parties and fake Satanic rituals thrown by Warhol superstar Ultra Violet. Meanwhile, Simon falls in love with a rich man's daughter and has to decide whether or not he wants to ascend to godhood.

The ad campaign is what killed this movie. It promised a Manson-like Satanic sex orgy and the movie delivers only brief nudity and no blood. I personally adore it, as it's such a time capsule of when it was made and such an accurate depiction of magic.

That may be because screenwriter Robert Phippeny was an actual practicing warlock. I can't find much other information about him, only that he only wrote one other movie, 1969's The Night of the Following Day. Director Bruce Kessler did much more, with a rich career in TV, including being behind the Night Stalker episode "Chopper," as well as the TV movie Cruise Into Terror.

As for Andrew Prine, he's beyond perfect in this movie. He considered his time making as if he were in the circus. The fun he was having is infectious.

Simon represents perhaps one of the most Satanic heroes the screen has ever witnessed. He lives up to nearly all of the Nine Satanic Statements as well as being aware of the Nine Satanic Sins. He fights against stupidity, pretentiousness and herd mentality.

Magus Peter H. Gilmore of the Church of Satan was kind enough to weigh in on this film: "The producers actually approached Anton LaVey and offered for him to play the part of Simon. They didn't grasp LaVey's own ideas of pride and self-deification, so the prospect of playing a homeless warlock living in a storm drain with a naïve male hustler was really not a role he'd have relished. That Simon attends a neo-pagan rite and mocks the stilted ceremony would have echoed some of LaVey's feelings about contemporary occultists."

Disappointing but not bad

[lazarillo · 13 November 2004]

I found this movie a little disappointing because I fell for the original advertising and was under the impression that 70's cult actor Andrew Prine would be playing a Manson-like cult leader. Instead Prine's character, Simon, is an actual warlock, although obviously not a very good one since has to live in the LA storm sewers. He also doesn't have much of a cult, just one dumb kid who follows him around like a puppy. At one point he does seduce a rich politician's daughter, but he is mostly interested in using her to cast a spell and has sex with her only as an afterthought. There is also a surprising homosexual subtext for a movie made at that time (although it is balanced out with abundant female nudity).

The movie is really only half-serious. The tone is often pretty campy. Prine is good, but he often seems to be poking fun at his own character. He is actually much more entertaining when he plays these kind of characters straight. Technically, this is probably a better movie than "Centerfold Girls", "Nightmare Circus" or other Prine vehicles, but I still maintain Prine would have made a great Charles Manson.

Incoherent

[halfadog · 16 May 2002]

What IS going on in this film? I dunno, but I kinda liked it. Andrew Prine (BARN OF THE NAKED DEAD) is a storm drain-dwelling modern-day warlock who uses his powers to do bad things. He becomes involved with the district attorney's daughter and low-life drug dealers. In one scene, he faces the QUEEN of the Witches. If you like '70s pseudo-witchcraft nonsense served with a nice dose of psychedelic visuals, incoherent plotting and some nudity, SIMON KING OF THE WITCHES might be well worth your time.

Interesting Precursor ...

[tl12 · 14 October 2012]

.. to the Dresden Files (SEE: http://www.jim-butcher.com/books/dresden and http://www.imdb.com/title/tt0486657/.

Others have described the plot but it should me made clear that the Title is a misnomer. Simon (Andrew Prine) is neither a witch nor a warlock. He is a real Magician or Wizard who practices real magic.

I though it quite good for a cheap 70's film and it holds it own today. Go in to it expecting a reasonably entertaining B film and you will not be disappointed. And if you like/d it be sure to check out the Dresden books and DVD of the series that ran for a year to good reviews and then was abruptly canceled. Another good series that SYFY or SY/FAKE as I like to call it killed after one year.