Review: The Crucible (1996)

Arthur Miller’s tale of severely repressed New England townsfolk exploding into lethal irrationality is translated to the screen with such nondescript and puritanical restraint that the film flounders in a monotonous tone throughout its two-hour running time. Despite a strong performance from Daniel Day-Lewis as John Proctor and great source material (written by Miller himself), The Crucible is an overwrought melodrama more concerned with actors hitting their marks than with visually accenting the story. It’s near the end of the 17th-century and in Salem, Massachusetts a group of young girls, led by Abigail Williams (a horribly overacting Winona Ryder), lay claim to being tested by the devil and consequently begin accusing citizens as devil worshiping witches. Along with overzealous preachers, ministers and judges, nearly all of Salem is caught up in a dangerous religious fury with the seemingly lofty goal of ridding their land of evil. In actuality however, their noble pursuit is a means of attacking their own human enemies. Land owners claim rivals of practicing witchcraft with the sole purpose of taking their land; children, influenced by a mob mentality, abide by the ridiculous claims that they can see spirits; Abigail’s own vengeance is aimed at John Proctor’s wife, Elizabeth Proctor (played by the formidable Joan Allen), in order to continue her adulterous affair with John himself. As a piece of theatre, The Crucible works – it’s a fascinating and at times an infuriating story that packs an emotional wallop. Unfortunately, as a film it is tediously repetitive and wallows in its own self importance. Nicholas Hytner’s objective style completely detaches the audience from the action, turning an otherwise promising story into a film presentation of a PBS Masterpiece Theatre production.

Richard Saad
© Cinephile Magazine, 2006