Is Hocus Pocus Worthy of Its Halloween Classic Status? – Great

With news of a Hocus Pocus sequel coming to Disney Plus – the when still yet to be determined – I thought it was only fitting to revisit the original 1993 film, and assess whether it deserves its cult classic status. The film was a box office flop when first released, but gained a following over the years due to reruns. That’s how I saw the film, in the comfort of my home, because you can enjoy movies outside of the hallowed ground that is the movie theatre.

I loved the movie, but then again, I enjoyed tons of movies when I was a kid that I look at with fresh, adult eyes, and wonder what on earth I was thinking. Does Hocus Pocus’ popularity stem from nostalgia, or is there a decent flick underneath that childhood reminiscence?

As the movie started up, I realised there was a lot I didn’t know. Firstly, it’s directed by the legend himself Kenny Ortega (please watch Julie and the Phantoms on Netflix if you have yet to do so). The story is set in Salem, which wasn’t something I noticed as a child – in all fairness I was probably there for the mindless entertainment. Much like how the recent Fear Street series built up the lore of the space and carries it through time, Hocus Pocus does the same thing with the Sanderson sisters. Their story is told in school during Halloween, everyone in town knows about them, which sets up a nice contrast as our protagonist Max (Omri Katz) just moved here from L.A, and we need a skeptic to instigate the events that follow.

What makes the film stand out from the other Disney Halloween movies is certainly the antagonists. Winnie, Mary and Sarah – played by Bette Midler, Kathy Najimy and Sarah Jessica Parker respectively – have great chemistry together. I love the rhythm in their movements (they move in such choreographed sync) and the musicality in their characterisation. Sarah sings to lure children for the three to drain the life force from, and all three of them perform “I Put A Spell on You” later on in the film.

Their camp portrayals are deliciously over the top and so much fun – even if you forget much of the story, you won’t forget the Sanderson sisters. The sisters’ introduction to the 20th century also allows the film to craft humorous situations, like the three confusing a man dressed as Satan for the real thing (which makes us wonder if the devil has a similar get-up, since the trio have been to hell), and their unfamiliarity with technology leaves them vulnerable to certain traps the kids concoct for them.

As opposed to mothers who sacrifice their beauty and youth for their children, Winnie and the gang are set in contrast to this maternal archetype – they greedily feed on the vitality of the young to maintain their own. When young Dani (Thora Birch) calls out Winnie’s ugliness, she means a moral disfigurement, yet Winnie reads it as a personal attack on her looks. Their worldview is limited to their own needs and desires – this is why they are the villains, not merely because they are witches and do magic. Speaking of magic, the film’s reliance on practical effects more than special effects was to its benefit – It doesn’t look too dated, and would fit right in with some of the Disney original films of today.

As much as I love the sisters, the best aspects about Hocus Pocus are the themes and relationships central to the narrative. It is one of the rare movies that focuses on the love between a brother and sister, and each brother’s willingness to put their lives on the line for their sisters.

Thackery Binx (Sean Murray) charged fearlessly into the witches’ abode to save his sister, but he was no match for the Sandersons. He loses his sister Emily, and spends the next three hundred years as a cat, doing his best to make sure the witches never return. Even though he fails, and the sisters do return, there is still a valiant push on his part to do whatever it takes to protect Max and Dani. As for Max, despite his tantrums about the move and his earlier reluctance to accompany Dani trick-or-treating, when things come down to the wire, Max would rather sacrifice his own life than bear the loss of his sister.

As cynical as I have become in my old age, Thackery’s whole character arc and journey really affected me emotionally. During his encounter with the Sanderson sisters, he wasn’t able to save Emily, and lost his family in the process as well – though one does wonder why he didn’t just explain things since he is a talking cat. For three hundred years, home was a foreign thing to him, until Dani and Max came along. It is to the film’s credit that even with most of the film dedicated to the whole group being on the run from the witches and the various shenanigans of the sisters, there is still an effort made to establish the growing relationships within the group.

Thackery’s death in the last act conjured such juxtaposing emotions – on one hand, there is the sorrow that comes with his loss. And yet, in the same breath he is reunited with his family, and we feel so happy that he has finally gotten what he has yearned for all these years. Death in a Disney film, especially that of an animal, is definitely an audacious move – even the recent Cruella stayed away from that kind of controversy. This is where the movie heads into mature territory, where death has a deeper purpose than just its association with loss – it can be something we lament but also something necessary. Thackery lived a life far beyond his mortal state – a cursed life – and with the curse lifted, he is finally free.

As I shed some tears for Thackery Binx, I recognised that while some of my enjoyment is most certainly nostalgia, Hocus Pocus is still a pretty competent Disney offering. Entertaining antagonists, well-developed characters and relationships, child actors that do a decent enough job – it’s no wonder this film has stood the test of time. And the sequel, if good, will give it the legs to last for years to come.

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