‘Viy’: This Haunting Folk Horror Film Delivers a Disturbing and Unforgettable Gothic Fairy Tale
‘Viy’ (1967) is a classic example of the long-standing practice of turning folktales into horror movies. Based on Nikolai Gogol’s short story of the same name, ‘Viy’ is one of the few Soviet horror films and was directed by Konstantin Yershov and Georgi Kropachyov. This dramatization emphasizes unnerving images over overt dread, drawing on the spooky yet amusing aspects of folklore. The format of the movie is reminiscent of traditional fairy tales, with a focus on dark fantasy rather than traditional horror.
The narrative centres on Leonid Kuravlyov’s character, Khoma Brutus, who is tasked with praying over a young girl’s body for three nights. He doesn’t realize that the girl is the witch that tormented his dreams. She summons more and more horrific demons to torture him while he stands watch in a crypt. With just a chalk circle and his prayers, Brutus must contend with an increasing sensation of dread every night. This gradual increase in tension is reminiscent of the gothic literary movement’s use of simmering tension to evoke fear.
Image Courtesy: Broadway Cinema
Viy’s narrative tactics, which repeat specific components to create a hypnotic, sing-song cadence, stay loyal to European folk traditions. The film’s hazy 19th-century background and the intricate crypt’s construction transport spectators to a fantasy realm where magic and reality coexist. The film’s main conflict between good and evil is furthered by the young witch’s flowing white nightgown and flowery crown, which stand in stark contrast to Brutus’ plain monk’s clothing.
‘Viy’ embraces dreamy, surreal horror instead of conventional shocks. An ominous, weird atmosphere is created by its practical effects from the 1960s, such as the witch’s strange movements and the strange designs of the summoned demons. ‘Viy’ is a distinctive cinematic experience that presents a visually stunning and fanciful take on otherworldly horror, even though it might not frighten contemporary audiences.
–Farheen Ali
