The Crucible

Director Nicholas Hytner doesn't soften or cosmeticize Miller's tale -- it's often uncomfortable to watch -- and he draws an emotional pitch from his actors that helps us understand the mob fury and irrational fear that make a situation like the one in Salem possible. Read full review

As vividly imagined as The Crucible is, it’s up to the actors to animate the stern Puritan cadences of Miller’s dialogue. They bring it off spectacularly. Read full review

In this almost perfect screen adaptation, the lingering question is the most important one: what caused such madness? Read full review

The Crucible shrewdly saves its most potent ammo for the end, audience-friendly showmanship to further signify a bang-up movie. [27 Nov 1996]

Handsome and impassioned, vigorously staged by the director of ''The Madness of King George,'' this ''Crucible'' is a reminder of the play's wide reach, which goes well beyond witch trials in any century. As adapted gamely by the playwright into a screenplay that takes advantage of scenic backgrounds and photogenic stars, ''The Crucible'' now speaks to subtler forms of dishonesty and opportunism than it did before. Read full review

The Crucible, despite some damaging cuts to the text, is a seductively exciting film that crackles with visual energy, passionate provocation and incendiary acting. Read full review

The ironies of the piece, adapted by Arthur Miller from his own 1953 play on the perils of McCarthyism, are savage and well served by a top-notch cast perfectly attuned to the poetry of the dialogue and the parable's fiery passions. Hytner holds the action together with solid, unflashy, well-paced direction, ensuring that this is no mere period piece but a compelling, pertinent account of human fear, frailty and cold ambition. Read full review

Joan Allen -- playing goody-two-shoes Elizabeth Proctor -- is the standout: She gives Proctor both spine and a desperate, late-blooming awareness that her own unyielding righteousness has helped bring about her family's destruction. Her performance is so true it's almost painful. Read full review

Emotional, powerful, an important film to see.

Whether on stage or on film, The Crucible is a powerful, thought-provoking production. This version illuminates the story's numerous strengths, resulting in a motion picture of surprising emotional and intellectual impact. By re-interpreting this classic so effectively, Hytner has assured that at least one version of "The Crucible" will become a part of film history. Read full review

Forty years ago, The Crucible was a cautionary tale cloaked in thumpingly good entertainment. It remains that now, and Miller and Hytner deliver the material with the ferocity it deserves.

In fact, by ignoring its McCarthyist roots, The Crucible becomes more expansive and timely. This tale about the Salem witch trials of 1692 no longer seems harnessed to the now-quaint fear of communism that swept America in the 1950s: And its subject -- the power of lies and the dangers of conformity -- seems more symbolic than ever before. [20 Dec 1996, p.5G]

So electric are the performances in The Crucible, so breathtaking is director Nicholas Hytner's darting camera, that it was fully halfway into Arthur Miller's screen adaptation of his legendary drama before I noticed something missing. Namely, a subtext. [20 Dec 1996, p.03]

THIS is one tough movie....When its uncompromising final scene has faded, we are emotionally shattered, left with some inkling of how the citizens of Salem, Mass., must have felt 300 years ago, after a reign of self-righteous, hysterical, scapegoating terror had swept through their claustrophobic town, sending a significant portion of its tiny population to the gallows, or worse. [20 Sept 1996, p.3E]

Ryder puts fire into both Abigail's pants and her belly, aided by makeup that makes her seem as much victim as victimizer. [20 Dec 1996, p.1E]

It's a good movie about the Salem Witch Trials, featuring a gripping final reel and an impressively broad performance by Daniel Day-Lewis: His fine work throughout the movie's first two thirds is rewarded by several climactic Oscar-clip tirades. Read full review

Miller's strength, and his weakness, has always been his tendency to see things in black and white, which is what makes "The Crucible" moving, and also suspect. I recommend Hytner's movie highly, but a part of me resists a work that makes the audience feel as noble in our moral certainty as the characters it invites us to deplore. Some part of its power seems borrowed from the thing it hates. Read full review

Don't overlook this film. It doesn't have the must-see pull of a Mars Attacks! or a Fierce Creatures, but it's a fine, convincingly played drama, and a superlative adaptation of Mr Miller's play. (Married to Marilyn Monroe, he was. Makes you think...) Read full review

The virtue of this play and the film of this play is that many readings and meanings are possible. The same can’t be said for the propositions of its detractors, who merely want to sweep an enduring and potent form of liberal protest under the carpet. Read full review

Nothing in the movie is quite up to Scofield's Danforth. But what a mighty performance that is.

Ryder is particularly impressive in her destructive passion. [27 Nov 1996, p.39]

Also good is Ryder, who made such an impression as the perfect sister in "Little Women." Here, she is quite a scary little psycho. Or as scary as any actress can be who is wearing a bonnet. [20 Dec 1996, p.74]

With this cast, you might have thought that Hytner didn't need to emphasise anything, but he does a lot of damage to the film's final half-hour by sending the camera off on wild, skyward missions, or slapping George Fenton's score on to the soundtrack with a trowel. In the last minute he repents for his sins, permitting us to leave the cinema with only the creak of rope and wood in our ears. Read full review

In the end, the movie reaffirms the importance of standing up for truth, and not betraying one's friends - the two most obvious morals at hand, though behavior no one could take for granted during the Communist-baiting "witch hunts" of the 1950s that Miller lived through. Too bad, though, that The Crucible fails to probe deeper into the sexual, religious, and political conditions that can give false accusations so much power - even today. Read full review

Neither the establishing dramatic linchpin nor the final conversion of conscience is terribly convincing, leaving this pared-down rendition of the original work diminished in power and meaning as well. Read full review

Handsome and well-acted, the film's ultimate success depends on the heat between Ryder and Day-Lewis, and it simply isn't there. The attraction is fatal alright, but it certainly doesn't seem mutual. Read full review

The Crucible is a drama of ideas, but they seem laid on top of the material, not organically part of it. Read full review

In this context, The Crucible very much becomes a story about a love affair gone bad and a young, solitary girl who uses the situation to advance her position in society and wreak her vengeance. Surrounded by some phenomenal acting performances (notably Day-Lewis, Joan Allen as the wronged wife, and the always welcome Paul Scofield in the unenviable position of judge and jury), the weaknesses in Ryder's technique become more blatant. Read full review

Hytner has filled the cast with good actors, but he's used them in obvious ways. Day-Lewis is not required to be anything but noble. Allen is such a purse-mouthed wife that you see why her husband ran to Ryder's nubile temptress (Hytner keeps turning Allen sideways, as if to emphasize that she has no chest). Ryder might as well have S-L-U-T tattooed on her forehead. None of these performers is bad, but what they're doing is shallow and ultimately uninteresting. Read full review

But whenever a film has hysteria as its subject, as this one does, the danger exists that it will become hysterical itself, and “The Crucible,” all its promise notwithstanding, falls into that trap with a demoralizing thud. Rife with screaming fits and wild-eyed rantings, this film is too frantic to be involving, too much an outpost of bedlam to be believable. Read full review

Hytner uses 360-degree camera turns and strange angle shots to inject this largely lifeless business with some drama. Ryder tries to do the same by nearly working herself into cardiac arrest in several monologues. Day-Lewis is acting so hard you can see his lower teeth, which, by the way are sometimes horribly decayed and other times white enough to blind a dental hygienist...See this movie at the peril of your soul. Read full review