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Movie Title: The Crucible The Crucible is available for streaming or downloading. |
Since Miller helped write the screenplay and one of his sons produced or coproduced the movie, it shouldn’t be a shock that the movie is so faithful to the new text where it needs to be and broadens the chronicle where it needs to, as well. Miller knows how to write for the stage, and he apparently knows how to write for the veil, also. After seeing so many “classic” books and/or plays butchered by Hollywood, this movie is a precise delight, despite its morbid and all-too-realistic memoir. This movie has become an considerable to my Grade 11 American Literature classes, spectacularly complementing their reading of Miller’s play and several pieces from the Salem Witch Trial era.
Ignoring the play’s historic flaws and inaccuracies (that’s another debate for another time), Miller brilliantly captured the essence of the Salem Witch Trials in his play and has conveyed them to the mask. Hatred, awe, jealousy, hypocrisy, religious mania, attention-seeking, conviction, strength, determination, repentance, and a host of other emotions and character traits are vividly brought to life by a respectable cast: Daniel Day-Lewis is a tall John Proctor (nobody else could have done better), Winona Ryder is very salubrious as the conniving and bitter Abigail Williams, Joan Allen was nominated for an Oscar for her portrayal of Elizabeth Proctor, and Paul Scofield should have won an Oscar for his cold-hearted portrayal of Justice Danforth. The conflict between Proctor and Danforth is what sustains the play’s momentum for the second and third acts (about the last hour and fifteen minutes of the movie), and Lewis and Scofield bring that record conflict to life: the classic great v. sinful, with the sides getting somewhat mixed up as to who is who. . . . Lewis plays the flawed hero to Scofield’s self-righteous and vindictive villain with palpable energy. How Scofield’s performance was overlooked by the Academy is unprejudiced another example of their oblivion. He gives me the willies with his methodical, calculating delivery of Miller’s chilling dialogue: “Who weeps for these weeps for corruption” (among a bunch of ample lines from the play/movie) .
This isn’t simply a play enacted in front of movie cameras (like Death of a Salesman) . The director uses his camera very effectively, capturing some grand close-up moments, fresh perspectives and camera angles, and bringing a sense of “bigness” to the whole memoir. The play can seem very isolated, with its sparse sets and black-and-white costumes. Miller also expands the movie to initiate well before the play does (giving the movie-goer information that he must have assumed the play-reader would already have) and extending it beyond the conviction of Proctor to include his execution, along with that of Rebecca Nurse and Martha Corey. Honest as a side imprint, each of those three was hanged in a separate group in the fresh trials–great symbolism from Miller, including each larger new group of victims in the final trio. Also expansive symbolism in Proctor’s Christ-like physical placement in the middle of the two “sinners,” as he takes their sins upon him–the crucifixion is represented very effectively.
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Bottom line: You won’t glimpse a better adaptation of a play to movie anytime soon. Nothing indispensable is left out, and some nice details are brought in to give the movie a distinction from its unusual source, the play. If you can accomplish it through this play and not be outraged by the injustice and hypocrisy, then you have a heart as chilly as Danforth’s. What Miller would likely want you to do is apply that outrage to similar situations that go on every day, honest as he intended with his recent play (the McCarthy hearings, the “Red” Dread) . At least peruse the movie, though.
If you can peruse this film and not go through every emotion you hold, then you need to check yourself for a pulse.
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Of course, I’m being a bit humorous with my opening to this review, but the reality is that this is a film that will touch you on every imaginable level if you can secure past the era in which the record takes residence and the hysteria of that time period. Rehashing the site is a demolish at this point as almost every student in America has read this play in their 11th grade English class, but this anecdote is as relevant today as the day it was written and the time in which the yarn takes area.
Arthur Miller wrote this epic as an indictment against McCarthism and although that time has past we calm have similar witch hunts today and, sadly, always will. 1970’s had us pointing fingers, thanks to Anita Bryant, anyone we plan might be a closet homosexual. The 1980’s had us pointing fingers at anyone who had more wealth than we did (powerful like in “The Crucible”) . The 1990’s had us pointing fingers at family members based on so-called “recovered memories” of sexual abuse (later proven to psychological hogwash, but a clever device to collect help at and smear the name of a family member we didn’t like) . And this century has us pointing fingers at anyone Middle Eastern as a terrorist. I assume immediately after 9/11 our leading law enforcement official, John Ashcroft, going on national television and warning us to be on the perceive out for “those that don’t belong.” To me, that was government sanctioned racism at its worst. I was afflict by 9/11, but I was pain even more by that reaction to it. This cuts to the heart of Miller’s fable wherein anyone can point a finger at anyone and ruin a life, a family, a community for personal gather and that accumulate can be financial, emotional, political, or whatever. As long as we have people that are motivated by abhor, panic, and power, this anecdote will remain timeless and will never be irrelevant.
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As far as the performances go, I can’t judge of finer acting off the top of my head than those in this film and most especially by Daniel Day-Lewis whose final lines will lope your very soul and Joan Allen who can play some one so icy with such depth of feeling. Like Lewis, her final scenes are unforgettable. You simply can’t lunge away from this film the same person you were before you saw it. It is truly that bewitching. All the supporting cast members are familiar faces and all do an outstanding job, especially Winona Ryder in what is probably the best performance of her young career.
her character’s obsessive and selfish desire to have the one man she can’t sets the ball in motion in this tale and she, sadly, has no sincere regrets. She is conflicted in lustrous that her actions are basically corrupt, but that they are smooth somehow justifiable. Ryder truly captures the soul, or lack thereof, of this character. She is incredible here.
The screenplay is adapted by Miller who wrote the play itself and makes the shift from play to hide seamlessly. The direction is confident and appropriately claustrophobic. He allows his actors do their thing without heavy handed influence. The find is terrific and stirring, and the cinematography has almost a documentary feel to it.
Rent or win this fresh masterpiece; it is suitable of your attention.
One last label. So many know this epic, but, surprisingly, few seem to adequately understand it’s title. I conception the below might be helpful:
The American Heritage Dictionary defines “crucible” as:
1. A severe test, as of patience or belief; a trial.
2. A site, time, or site characterized by the confluence of distinguished incandescent, social, economic, or political forces.
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