Some belated sequels, which no one particularly expected or wanted to see, are actually well worth a look. These include films that see actors returning from the original, for example Paul Newman in The Color of Money (1986), or ones that revisit the title and the source material, for example Return to Oz (1985). Others, while they retain one of the original creators, for example Arthur C. Clarke’s 2010 (1984), seem ill-conceived from the start, as few directors, if any, could top Kubrick at his best.
Unfortunately, and somewhat inevitably, The Wicker Tree (2011) is an example of the latter. The original film, The Wicker Man (1973), was in many respects an example of lightning caught in a bottle - a dependable British cast at the top of their game, an unusual story and a witty script that flirts with different genres but is hard to pin down. As the original film depended on many disparate elements fitting together in a production that was beset by problems, a sequel would have to be brilliant to match its reputation. A script of ‘The Wicker Man II’ by original writer Anthony Shaffer did the rounds for decades, but this was stymied both by his death in 2001 and Edward Woodward’s in 2009. The actor, almost unbelievably, was prepared to return to the role of Sergeant Howie, following in the footsteps of Donald Pleasance in Halloween 4 (1988) as another apparently fireproof hero. With Shaffer and Woodward gone, director Robin Hardy has come up with his own thematic sequel, which takes the audience to another Scottish pagan community who enjoy orgiastic celebrations and sacrificing Christians.
Christopher Lee returns in a brief cameo as a former patriarch of the community (possibly Lord Summerisle, depending on the vagaries of copyright law), but the cast of TV actors he’s surrounded with rarely lift the material above the standard of an episode of Midsomer Murders, which in tone, atmosphere and set dressing the film seems particular keen to recreate. As in the original, there are some great uses of music, some well-judged moments of tension and some good depictions of decadent Brits taking their desires to their logical conclusion. However, the comedy moments are often forced and occasionally embarrassing to watch while the horror is never extreme enough to be particularly shocking, with more disturbing and memorable cannibalistic orgies served up in recent years by Perfume (2006) and episodes of True Blood in 2009.
The Wicker Tree isn’t unwatchable, unlike parts of the misguided American remake of The Wicker Man (2006), but adds nothing to the original. A worthy sequel to the 1973 cult movie is perhaps one best left to our imaginations.