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The Crucible
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Genre | Drama |
Format | NTSC, Subtitled |
Contributor | Dossy Peabody, Bob Miller, Taylor Stanley, Peter Vaughan, David V. Picker, Robert Breuler, Winona Ryder, William Preston, Michael Gaston, Nicholas Hytner, Mara Clark, Elizabeth Lawrence, Rachael Bella, Ashley Peldon, Will Lyman, Karen MacDonald, Peter Maloney, Jeffrey Jones, Rob Campbell, Kali Rocha, Robert A. Miller, Paul Scofield, Ruth Maleczech, Frances Conroy, Daniel Day-Lewis, Joan Allen, Ken Cheeseman, Karron Graves, George Gaynes, Bruce Davison, John Griesemer, Charlayne Woodard See more |
Language | English |
Runtime | 2 hours and 4 minutes |
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Product Description
17th-century Salem, Massachusetts - a group of teenage girls meets in the woods at midnight for a secret love-conjuring ceremony. But instead of love, Abigail Williams (Winona Ryder, Heathers) wishes for the death of her former lover's (Daniel Day-Lewis, The Last of the Mohicans) wife (Joan Allen, The Ice Storm). When the ceremony is witnessed by one of the town s ministers, the girls are accused of witchcraft. Soon the entire village is consumed by hysteria, and innocent victims are put on trial, leading to a devastating climax! Nicholas Hytner (The Madness of King George) directed this modern classic based on a play by the great Arthur Miller (Death of a Salesman) and featuring an amazing cast that includes Paul Scofield (A Man for All Seasons), Jeffrey Jones (Ferris Bueller s Day Off), Bruce Davison (Longtime Companion), and Peter Vaughan (Straw Dogs). Received two Academy Award nominations for Best Supporting Actress (Allen) and Best Adapted Screenplay (Miller).
Product details
- MPAA rating : PG-13 (Parents Strongly Cautioned)
- Product Dimensions : 0.7 x 7.5 x 5.4 inches; 3.2 ounces
- Director : Nicholas Hytner
- Media Format : NTSC, Subtitled
- Run time : 2 hours and 4 minutes
- Release date : April 11, 2017
- Actors : Daniel Day-Lewis, Winona Ryder, Paul Scofield, Joan Allen, Bruce Davison
- Subtitles: : English
- Producers : Robert A. Miller, David V. Picker, Bob Miller
- Studio : Kl Studio Classics
- ASIN : B06W9L2VMQ
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #25,438 in Movies & TV (See Top 100 in Movies & TV)
- #2,390 in Drama Blu-ray Discs
- Customer Reviews:
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Top reviews from the United States
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The acting in this production is superb, with all of the actors deftly communicating the unique beauty of the language that Miller specifically created for this work. Indeed, the language is a key element in the telling of this story, endowing the characters with an eloquence that many of the original historical figures very likely did not possess, considering their level of education. Although in some respects the language mimics the diction of 17th-century Massachusetts, it goes far beyond that, elevating the characters' speech to a very nearly Shakespearean level of beauty and power. Even the children raise goosebumps when they speak.
Meanwhile, the adult actors, many of whom earned their spurs in serious dramatic works and trained at top-notch drama schools, put forth riveting performances that linger in the memory long after the film has ended. Some (such as Winona Ryder and Jeffrey Jones) have first come to renown in such lighter popular films as Beetlejuice (Ryder) and Ferris Beuller's Day Off (Jones). The depth of their portrayals in this film should surprise and delight fans who associate them with these more mainstream works.
My one complaint goes to Miller's misogynistic treatment of his female characters, particularly that of Abigail Williams. By transforming her from the oppressed and probably orphaned 11-year-old girl of the actual historical record into a 17-year-old temptress who has led John Proctor into sin, Miller unconsciously promulgates a common (but utterly baseless) literary stereotype. In truth, if a married man in his 30s is having an affair with a teenage girl, most modern audiences should be able to recognize that it is HE who has tempted her, not the other way around. Indeed, we now have a name for the sin Miller's John Proctor has committed, and it's not adultery. It's statutory rape.
That said, The Crucible is rich with themes that touch on the very depths and heights of human behavior. How low can human beings sink? How high can they aspire? This film explores these and other themes with a depth and power that transcends time and place.
Arthur Miller penned the screenplay for this movie, based on his own play. Made into a movie in 1996, the reviews were tepid at best.Yet I recall fondly sitting in the theater, absolutely transfixed at the story, knowing I was seeing a classic in front of me. Directed by Nicholas Hytner, the Crucible is both visually stunning and a slave to a great story with great characters. John Proctor is played flawlessly by Daniel Day-Lewis, a man with a past who regrets his actions and loves his family. Equally flawless is the never-go-wrong Joan Allen, playing his always truthful wife Emily. Caught in the web of their family is young Abagail Williams, acted by a never better Winona Ryder, who loves John and in doing so, tries to destroy his family.
Events of the story get set into motion immediately, by a group of young girls who venture out into the evening to create a magical potions to conjure the affections of the town's boys. What transpires from there, things grow quickly and blatantly out of control, as innocent person after innocent person is flung into the pit of suspicion, based on the heresay of a few imporessionable girls. Miller balances perfectly the trial of suspicions with the unfolding drama of a family unraveling, creating a mesmerizing piece.
Even moreso, the Crucible is a tale for today. How many elements in our own society today would be willing to sell out some of our lesser folks to create a safer place? Listen very carefully to Hytner's commentary track on the DVD, which is informative and wise. He hits the nail on the head during the final, heartbreaking scene. The message of this play, the message of this movie, shall never become obsolete, as long as we have people in our society who unfairly judge others on the altar of righteousness.
The Crucible demands repeated viewings for excellent acting, intense drama, and a visually beautiful film to watch, as well as a lesson for us all.
Top reviews from other countries
Il prodotto è perfetto ha un’ottima resa: in lingua italiana e si vede bene.
La storia è meravigliosa e Daniel Day Lewis straordinario come sempre.
Lo consiglio soprattutto a chi ama i film in “costume” ambientati nel passato, la storia è travolgente con un finale inaspettato.
Lo consiglio!
Wer das Spiel von Daniel Day-Lewis kennt, weiß, dass der Schauspieler eigentlich nur perfekt spielen kann.
Bei dem Film gibt es am Rande eine "Notiz". Die Vorlage zu Film ist das Bühnenstück von Arthur Miller aus dem Jahr 1953. Das Spiel hat einen geschichtlichen Hintergrund, natürlich mit der Freiheit eines Autors.
Die Hexenprozesse im Jahr 1692 in Salem, Massachusetts, fanden tatsächlich statt. Die meisten Namen sind historisch belegt.
Miller hat das Theaterspiel in das 17. Jhr. angesiedelt, doch es ist auch eine Kritik an die Zeit, in der er das Stück geschrieben hat. Die berüchtigte Mac**** Ära kann da interpretiert werden.
Im selben Jahr heiratete Day-Lewis Rebecca Miller (die Tochter des Dramatikers), mit der er noch heute verheiratet ist.
Wie wir weiter wissen, hat Day-Lewis nach dem letzten Film "Der seidene Faden" (2017) gesagt, er würde icht mehr spielen. Bisher stimmt das - leider.
ZU DEM FILM (Spoiler/das Ende ist hier bekant):
Salem, eine kleine Stadt am Meer, eine Gemeinde, die sehr puritansich ist. In der Wald treffen sich junge Mädchen mit der Sklavin Tituba (aus Barbados), die der Pfarrer, Reverend Parris (Bruce Davison), mitgebracht hatte. Sie sprachen dabei die Namen der Männer, die sie heiraten wollen. Das Ritual wurde vom Pfarrer Parris beobachtet, die Mädchen können fliehen. Als seine Tochter Betty (Rachael Bella) einige Tage regungslos im Bett liegt, ist er besorgt. Noch schlimmer wird es, als die Magd, Abigail Williams (Winona Ryder) und einige andere Mädchen vom Teufel sprechen, der sie heimsucht, ihnen schlimme Sachen antut.
Nun wird der Reverend John Hale (Rob Campbell) gerufen, der sich die Mädchen anhört. Es sind ziemlich viele, sie sind aufgebracht, bezichtigen sowohl Frauen wie auch die Männer der Gemeinde mit dem Teufel im Bunde zu stehen.
Als zwei Richter: Thomas Danforth (Paul Scofield) und Samuel Sewall (George Gaynes) eintreffen, beginnt eine regelrechte Jagd.
Die Mädchen (im Film werden sie als Kinder bezeichnet, die als solche natürlich unschuldig sein müssen) sind ein eigespieltes Team. Von Abigail geführt, fallen sie zusammen in Ohnmacht, schreien, laufen, verstecken sich und wirken dabei sehr überzeugend.
Es ist nicht mehr wichtig, dass Abigail verliebt in John Proctor (Daniel Day-Lewis) ist, bei dem sie als Magd gearbeitet hatte und ein Verhältnis gehabt hatte. Seine Frau, Elizabeth (Joan Allen) wusste davon und jagte das Mädchen weg.
Sie hingegen wartet immer noch auf den Bauer, spricht von Liebe zu ihm. Er will nichts von ihr wissen. Seine Frau, die eher still und hart erscheint, spricht nicht über die Vergangenheit, bis die Hexenjagd in ihr Haus eindringt.
Es genügt nämlich, dass die "Kinder" nur einen Namen aussprechen, schon haben die Richter eine neue Hexe entdeckt, die natürlich auch ihren Ehemann "verzaubert" hat.
Eine Welle der Beschuldigungen geht umher. Die Menschen trauen niemanden mehr, bespitzeln sich und ermöglichen dem Gericht eine leichte Arbeit. Es werden über 100 Namen genannt, das Gericht hat non-stop zu tun. Als Mary Warren (Karron Graves), die jetzt als Magd bei der Proctor-Familie arbeitet, ihre Aussage widerrufen will, wird sie von Abigail und anderen so bedrängt, dass sie "wieder" den Teufel sieht.
Die ersten Urteile werden vollstreckt, man hängt die Hexen und ihre Gehilfen. Es dauert den ganzen Sommer 1692 lang, bis die öffentliche Meinung sich ändert. Auf einmal ist den Menschen alles zuviel. Sie wollten zwar die Hexen verjagen, wollten vielleicht auch das Land eines Nachbarn haben (umsonst!), aber sie wollen die Stadt erhalten. Die Ernte wartet, die Menschen wollen ihre Ruhe haben.
Die Richter müssen sich nach einigen Monaten geschlagen geben, ihre Arbeit ist getan, sie würden noch mehr tun, aber...
HABEN DIE/WIR MENSCHEN ETWAS DARAUS GELERNT?
Wenn man die Geschichten der Hexenvervolgungen kennt, weiß man, dass die menschliche Natur nicht viel dazugelernt hat. Die Menschen glauben sogar heute noch, es sei etwas unnatürlich, was sie sich nicht erklären können. In der Zeit der Social-Media ist ein Hexenkult der besonderer Art zu betrachten - man beschuldigt die "Andersdenkenden" im Internet und die können sie ebensowenig verteidigen/wehren wie früher die Hexen.
Rufmord, Fake-News, die Bilder..., vieles mehr kann die Leben zerstören. Nur die Art hat sich geändert, aber das macht wenig Unterschied.
Wie damals in Salem (und überall in der Welt) kann man sich heute nicht davor schützen.
Die menschliche Dummheit ist ohne Grenzen und wir alle tragen Schuld daran, wenn wir ohne Vorbehalte alles glauben, oder so denken: wo Rauch ist, ist auch Feuer nicht weit.
Vielleicht ist das die Botschaft des Filmes, die ich beim zweiten Mal mehr gespürt habe.
Das Spiel von Daniel Day-Lewis ist ohne Makel - wie immer. Auch Winona Ryder spielt gut, verschlagen, boshaft...Mir hat Paul Scofield besonders begeistert. Ich mag ihn schon aus dem Film "Ein Mann zu jeder Jahreszeit" (1966), in dem er Thomas More spielte. Da war er gerecht und klug, hier ist er "gerecht" und phanatisch, sein Glaube gefährlich.
Die Regie führte Nicholas Hytner (The Lady in the Van), der mehr im Theater tätig ist, seine Arbeit ist fast ohne Makel.
Die Szenerie ist sehr sehr gut, die Massenhysterie greift über und lässt auch den Zuschauer nicht kalt.
Ein Film, der sich nicht ganz an die Salem-Prozesse hält, aber das kann sich A. Miller erlauben, er hat hier selbst noch das Drehbuch geschrieben.
Und das merkt man auch in den Dialogen.
Immer wieder sehenswert!
The film was released to great critical acclaim in 1996, Arthur Miller having written the screenplay for it, adapting it from his play. Miller takes us back to the years 1692-93 and into the minds of the doctrinaire Puritans whose dogma dominated the day, their interpretation of God’s word and will both strict and literal. During the so-called Great Awakening a generation later Jonathan Edwards would deliver his famous fire-and-brimstone sermon, Sinners in the Hands of an Angry God. Great title, perfectly capturing the malevolent tone, God’s kindness and mercy not always available, the demands of his emotional blackmail stern and rigid: believe in the divinity of my Son or be damned. Hell is real, and so are its eternal fires, so take heed and repent or suffer forever. God as bully.
Salem was a village in the original Massachusetts Bay Colony, a colony established by Puritans from England in 1628. A Royal charter signed in 1629 confirmed the land as English even if it wasn’t in England. The inhabitants arrived as migrants, but with the seal of the king their stay now felt official. They would put down roots, English roots in foreign soil. But their descendants, only a century later, would not be English. Without knowing it they were destined to become parents of a new nation.
Salem village had about 600 residents in 1692, which means most of the villagers knew one another. This was important during the trials because of the personal nature of many of the accusations.
The film begins with young girls in nightgowns excitedly running through a wood in the moonlight. They run to a clearing in the trees where a large kettle is boiling over a wood fire. There are many of them, perhaps a dozen. One of them is Tituba, a black servant girl from Barbados. Black girl, black night, black magic, as she’s the conjurer, chanting sounds in her native tongue. She stands and dances, swinging a dead chicken by its feet above her. In the kettle a dead toad boils. Kneeling round the kettle, the girls throw other objects into it. As they do they audibly make wishes for boys they adore in the village, hoping they’ll love them in return. Their wishes are innocent. But the oldest of the girls (Abigail Williams), perhaps 17, is a machiavellian schemer. Her wish is a desperate one: the death of the wife of a man she fancies. His name is John Proctor. Tituba recoils when she hears Abigail’s secret and won’t go on chanting. The neck of the chicken is slit and Abigail tastes its blood. In fact, there’s blood all over her face which frenzies her. She stands up, dances, tears her nightgown free from her body. Her nakedness excites the other girls, the younger ones. Their eyes roll, they stand up, shout, dance.
What is this? What’s happening? A game, a stunt, a possession?
I think it schoolgirl fantasy, wish fulfilment. The girls want boyfriends, not the Devil. Only Abigail is different. She has an agenda, not schoolgirl wishes. Filled with lust, she wants murder — the murder of the wife of John Proctor. It is she and her frenzy that frenzies the other girls.
Reverend Parris hears the distant commotion in the wood. He wanders in to investigate. He sees Abigail’s naked flesh, the boiling pot, the dead chicken, the blood and frenzied girls. He’s appalled, aghast. He’s also the uncle of Abigail and father of Betty, one of the younger girls, perhaps aged 11. The girls see him, scream, scatter, run home. Fun over.
But now the questions begin and the reverend wants answers. Trouble is, Betty can’t answer. She has fallen into some sort of coma-like stupor. She breathes normally and her eyes are open, but she’s unresponsive. Dr. Griggs is brought in. The doctor examines her and is mystified. No fever or tremors, normal pulse, regular breath. What could it be?
And there’s another girl, also young — Ruth. She’s in the same state in her bed at her house. The doctor examines her and can’t explain the cause of her condition either.
But Abigail can, Rev. Parris thinks, and means to find out. When Abigail speaks she lies to him, saying no one was dancing naked in the wood. He knows she’s lying because he saw her. He lifts his hand and strikes her hard across the face. How she didn’t fall I don’t know. Instead, she stands there whimpering in pain.
The reverend is the village parson. He gives the Sunday sermons and leads the congregation. He has a reputation to protect and will protect it at all costs, the condition of the face of his niece secondary to it. He’s a man of peace and God but also one of the fist.
Concepts such as auto-suggestion and mass hysteria were unknown in those times. Psychology did not exist. It was clear humans had a state of thinking called mind, but how the brain generated it was unknown. In fact, it’s still unknown today, but at least we have a greater understanding of brain chemistry, structure and operation. We know the causes of our thinking are material and natural, not immaterial and supernatural. The former is all the brain has to work with, the latter a fallacy generated by delusion.
Abigail’s charismatic powers of seduction were the cause, and her subsequent behaviour (fainting fits, hallucinations, whisperings from the Devil) are part of an elaborate and dangerous ruse. So dangerous in fact it leads to the trials and executions they sanction.
Betty and Ruth finally wake up, but they’re still badly shaken and hardly coherent. Whatever spell the antics of Abigail cast over them was effective. In fact when they see her they still tremble. She has captured their minds through her abusive powers of persuasion.
John and Elizabeth Proctor live on a farm a few miles outside Salem. They are freeholders with hundreds of acres, more than enough to make a decent living. They have children, two young boys. Mary Warren is the maid in the household now. But she is a recent replacement for Abigail who was summarily dismissed. Why? Because a seduction happened there. Mutual or one-sided doesn’t matter anymore. At its heart was lust. John yielded, or Abigail yielded, or both yielded. Afterwards John was mortified, self-castigating. Abigail, on the other hand, became obsessed. “I have given myself to him. I shall not be cast away.”
But she is cast away and she doesn’t like it, can’t accept it. She’ll have her say by way of justice, personal justice in the form of revenge.
So at the heart of it all, according to Miller, there is this simplicity: possession, viciousness, vengeance, punishment. Abigail aggrieved will seek her devious solution.
The mystery of what happened in the wood widens. Tituba a is beaten with a birch rod for answers. The one who administers the beating is the sadistic Rev. Parris, whose targets always seem to be young women. Tituba tells what happened, what she knows. But her answer is unsatisfactory, as she fails to mention the Devil and other evil spirits, whatever they might be. The community becomes unsettled and jittery, fearful and suspicious. Witches are emissaries of Satan who may be anywhere among us, possessed and ready to steal our souls, to damn us to hellfire forever.
The reverend and other adults in the village fail to quell the crisis, so help is called in. Mr. Hale, a lawyer and scholarly expert in devil worship is summonsed. He arrives in a carriage with several thick, heavy volumes in tow. If anyone can decipher and interpret malevolent signs, it is he.
He examines Betty and Ruth but, like the others, comes to no definitive conclusions. But he stays in Salem to interview the villagers, trying to gather evidence of evil practices at work. Again, inconclusiveness. He needs more time and evidence.
Trouble is, the village is on edge, scared and impatient. The villagers don’t want more time of uncertainty. They want definite answers now. So the reverend and others act, calling in another man of the law, this time a high-ranking judge from Boston named Thomas Danforth.
Danforth is intelligent, schooled in the details of the law. He also knows his Bible intimately, it being the central foundation of his interpretation of the law. He arrives and means to be thorough. If the community is polluted with the work of Satan, he will cleanse it of its sins. The witches who do the work of the Devil, consciously or not, will be unmasked. So, he goes about his methodical business, summonsing witness after witness.
The trial scenes are detailed and numerous. To attempt to describe them here would clutter the review with needless detail. They aren’t important to describe the story now, though they were critically important in the lives of the accused.
At some point much of the testimony will hinge on the veracity of Abigail Williams: what she has seen and knows. Well, what she has seen and knows is nothing, as there was nothing to see and know. Instead, she’s inventive and creatively destructive, if that’s not a contradiction. Her fantasies in the courtroom are played out well, punctuated by dramatic fits of hysteria. Even old Danforth, a wrinkled and withered judge who has seen it all, is rattled by her performances, so real and uncanny that he too looks round the room for the Devil.
What is Abigail after? The body and love of John Proctor. What does John Proctor want? The liberty to live in peace on his farm to raise his family. Does he love his wife? Yes, if love is loyalty and devotion. He will not sacrifice her.
The dirty work of madness proceeds. Accusations are made, pretexts devised. The worst is believed, verdicts are reached. One person is accused of witchcraft for causing pigs to die on the farm of an aggrieved nearby neighbour. A very old man named George Jacobs (who walks with the aid of two crutches) is accused of devilry. The charge is trumped up by Thomas Putnam, a greedy landowner who wants more land (i.e., that of Jacobs).
In the end 19 people swing from the gallows and one more is crushed to death under a pile of rocks for refusing to rat on a fellow villager by uttering his name. Historically, the trials petered out for that very reason, additional villagers refusing to cooperate with the authorities by naming others and condemning them to imprisonment or death.
Justice could not be served for the executed victims, as resurrection is an illusion. But at least an admission of wrongdoing and expression of remorse didn’t have to wait long. In 1697, the Massachusetts General Court declared a day of fasting for the tragedy of the Salem witch trials. The court confessed that the executions were unlawful and publicly apologised for them. In 1711, financial restitution was legally granted to the families of the victims. However, the perpetrators of these travesties of justice were not punished. Danforth (meaning William Stoughton — see note below*) and his fellow Inquisitors did not go to prison, which is usually how it goes, judges who do the judging deemed beyond judgement themselves; sermonisers who preach against wickedness cannot be wicked, unless of course they are, in which case the subject must be changed. It’s just a good job for them that hell doesn’t exist, as they’d be among the first to go.
*For reasons obscure and curious Arthur Miller focused his narrative on this judge (Danforth), which is strange. In reality Danforth didn’t preside directly over the trials, even if he was a leading magistrate in the colony during the time of the trials. In fact, quite ironically, he was critical of the conduct of the trials and was influential in ending them. Miller probably conflated Danforth with William Stoughton (1631-1701), the chief magistrate at the trials. Thomas Newton was the chief prosecutor. Neither appear in the play and film. Also indictable for helping cause these miscarriages of justice was Cotton Mather (1663-1728), probably the most prominent and influential Puritan minister in New England at the time. Mather lent his ‘moral’ support to the trials, writing this to the magistrates:
“ We recommend…the speedy and vigorous prosecution of [those] who have rendered themselves obnoxious according to…the laws of God and the wholesome statutes of the English nation for the detection of witchcraft.”
Outstanding performances: Daniel Day-Lewis (John Proctor); Winona Ryder (Abigail Williams); Joan Allen (Elizabeth Proctor)
The film was nominated for two Academy Awards: Miller for best screenplay; Joan Allen for best supporting actress.