GUEST POST Lord Summerisle obviously took the Liberal whip

Summerisle Young Liberals, 1973

Anselm Anon and Wighard of Canterbury find that The Wicker Man is steeped in the debates of 1970s Liberalism.

A great deal has been written about The Wicker Man (1973). Often heralded as Britain's greatest horror film, its shocking climax has obscured other salient features – most notably, the political alignment of Lord Summerisle (portrayed by Christopher Lee) and the impact of that on the socioeconomic construction of the island.

For those unfamiliar with the setting, Summerisle lies off the west coast of Scotland – in the 'Celtic Fringe' that constituted the post-war Liberal electoral bastions. In 1868, the grandfather of the present lord (at the time of filming) purchased the island and established it as a spot for the cultivation of new strains of apple he had developed. (There are some parallels – although not in every particular – with the purchase of Eigg by the wealthy Liberal Runciman family in the 1920s.) 

The first Lord Summerisle was a characteristic Liberal of his generation: a scientist, a religious nonconformist, a freethinker, and an entrepreneur. Surely his grandson continued to take the Liberal Whip in the House of Lords. 

On Summerisle, he reintroduced a form of paganism, which flourished alongside his orchards; although not openly acknowledged, the age and style of the architecture of the island's public infrastructure, such as the school and the library, also imply they were the work of this Victorian innovator. 

A century later, Summerisle is renowned for its apples, remains pagan, and offers audiences a model of an integrated community that has overcome many of the issues being addressed by contemporary Liberal politics; through the narrative of the film, however, Summerisle acquires other connotations.

Although never before acknowledged, The Wicker Man has a great deal of connection to 1970s Liberal politics (setting aside a charismatic leader allegedly involved in a conspiracy to murder). First, community politics lies at the heart of the film. The entire island works together, setting aside questions of class to achieve common goals – a horizontal rather than vertical organisation of society.

This is the antithesis of the class confrontation that characterised the era’s political imagination, and the Conservative/Labour duopoly. Community politics was adopted by the party at the 1970 Liberal Assembly, although its antecedents include New Liberalism and Distributionism.

While there are questions about the authenticity of the (re)introduction of 'the old ways' in 1868, the society built on these foundations seems authentic, perhaps more so than elsewhere given the open acknowledgement of its invented traditions. 

While heathen, Summerisle is hopefully not unenlightened. In contrast to the islanders, who are harmonious, it is the visiting Sergeant Howie who adopts an adversarial and intolerant tone – a representation of the adversarial politics 1970s liberals sought to move beyond.

Summerisle, like so many places, could not escape the discourse of apocalyptic 'declinism' that pervaded much of 1970s politics. The failure of the apple harvest resonates through the film. However, Lord Summerisle once again aligns himself with Liberal politics by adopting a solution-based approach informed by the best evidence to hand. 

Summerisle’s attitude might not be as technocratic as that offered on the mainland, but equally, the skill in constructing the narrative that ensnares Howie cannot be dismissed. The establishment of a research facility to address issues with the apple trees might have yielded better results, perhaps, but certainly not a better cinematic spectacle.

Given the nature of Summerisle life, it must also be seen as part of the 'permissive society' approach championed by Liberals. This certainly originates with Lord Summerisle, who presides over (directly and indirectly) a lifestyle that is remarkably sexually uninhibited in both word and deed. This is underlined by Summerisle's cosmopolitan (mis)quotation of Walt Whitman's Song of Myself, a poem generally seen as indicative of sexual experimentation and egalitarianism. 

That egalitarianism on Summerisle extends beyond sexuality to a degree of pro-immigration sentiment, again engaging with 1970s Liberal politics: Ingrid Pitt's obviously Polish accent marks her as an outsider on the remote Scottish island, yet her character is the island’s librarian and key to the ritual's conclusion. The alliance of an intense local network with a metropolitan (even cosmopolitan) leadership encapsulates much of the post-war Liberal Party.

The Wicker Man, then, is steeped in the debates of 1970s Liberalism. Lord Summerisle presides over a society that has overcome some of the challenges of contemporary life, particularly around issues of social unity balanced with the need for local autonomy. Rather than a backward-looking, isolated, paganism, Summerisle is integrated into the local and national economy, showing how tradition can be incorporated with the demands of modern life: the old ways performed in Levis. 

Summerisle's socially and economically liberal order works for the benefit of the whole community – audiences see no poverty or antagonism between different classes on the island, largely because there are no different groups. 

It would be inaccurate to say that challenges do not remain, and it is impossible to know whether the remedies attempted in the film were successful – though a brief cameo by Christopher Lee as a mentor to a more modern pagan Scottish lord in Robin Hardy’s 2011 sequel, The Wicker Tree, suggest that, just perhaps…

Anselm Anon and Wighard of Canterbury are both members of the Liberal Democrats.