Shadow Of The Hawk

I expected Shadow Of The Hawk to be campy, cheesy or at the very least creaky, but this is a genuinely spooky, effective and quite earnest old school ghost story with three good natured lead performances, absolutely gorgeous Vancouver locations and eerie, atmospheric indigenous mythology. The great Chief Dan George plays a Native elder who voyages from his home in the British Columbia mountains to find his halfbreed grandson (the late Jan-Michael Vincent), to get his ancestral help in battling the ghost of an ancient sorceress who has put a deadly curse on their bloodline. Grandson is less than happy to be pulled into a facet of his life that he’s actively distanced himself from, but has no choice really as the dark magician and her evil minions are plaguing his life too. Together with a helpful reporter (Marilyn Hassett) they embark on a road trip into the sacred lands of BC to contend with these powerful dark forces amassing against them and cleanse their family lineage of this voodoo mysticism. Being an obscure 70’s horror flick theres naturally a touch of camp, most notably in Vincent’s doe eyed, slightly androgynous aura, but for the most part this plays it straight and spooky. The spirit of this witch first manifests as a legitimately terrifying masked phantom that haunts the characters wherever they go accompanied by some sound design that truly stood my hairs on end, then later she shows up in dreamy flashbacks as a snake charming witch-doctor played by Vancouver indigenous actress Marianne Jones. There are very well done set pieces here including a white knuckle suspension bridge crossing, an ongoing car chase between our three leads and a mysterious, supernatural black car that tails them all around the BC landscape. Vincent must fight a bear to death and as if that wasn’t strenuous enough then a Wolf as well *and* some masked cultist acolytes of the sorceress high atop a craggy bluff in a confrontation that has some Last Of The Mohicans vibes. It’s a fun film, with some really engaging visual atmosphere, very frightening score and a neat ‘modern world clashing with ancient spiritualism’ feeling as our characters venture from the cement and glass world of 70’s Vancouver out into the lush, elemental Pacific Northwest wonderland of British Columbia.

-Nate Hill


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