It's comforting, in a way, to know that in an era when genre fare out of the United States and the United Kingdom commonly fell on the lighter side of the spectrum, these industries were not alone in arguably failing to strike a tone commensurate with the material. Though the matter here is maybe not so severe as we've seen in countless more well-known instances, there's definite levity in many scenes (if not outright ham-handedness), bolstered by what one might say is an overly dramatic score, a surfeit of dialogue, and a comparative lack of specific visualization early on. Just as concerning, if not more so, is the overly swift pacing that requires one to be actively engaged with the viewing experience or else quickly get left behind; even more substantively, as the length advances dialogue and scene writing trade at least as heavily on discussion of dynamics between men and women as they do on witches and local legends. Finally, a little after the one-quarter mark, the plot meaningfully picks up as the key character enters the narrative. Of course, 'Noita palaa elämään' ('The witch returns to life') maintains those same frivolous airs, and the traits that first caught our attention in the first twenty minutes prove to be enduring facets of these eighty minutes; this is not the type of genre piece to take itself seriously, or to earnestly evoke feelings. Be that as it may the story is mostly enchanting and entertaining, and there remain more significant flavors of horror to come out in the telling beyond the simple fact of the subject matter. A must-see this is not, but despite distinct issues it's worthwhile on its own merits.
One will certainly observe that this is a saga as much of superstition, misperception and misunderstanding, coincidence, and pure ignorance as it is one of black magic, dark powers, and resurrection. Despite the tenor of the production there is a well-written, deserving story underneath the frivolities, one of obsession and madness, and one of what a person might bring out in those around them under the right circumstances as much as any discrete activity. It all comes across as a bit of a grab bag, truthfully, and there are unquestionably some facets of the writing that probably should have been left out, or at least significantly rewritten, and others that needed to be tightened. Yet for whatever one might say about the details of the writing and direction, broadly speaking the feature is very well made all around, with an overall compelling and imaginative narrative not least. (After all, if not for that, why would we continue watching?) Those stunts and effects that are employed come off great, and the editing is sharp. Esko Töyri's is wonderfully crisp and vivid, presenting in rich detail all that there is to see, and the photography is genuinely better than one can say of some modern flicks. The filming locations and sets are gorgeous; the costume design, hair, and makeup are all so lovely. The cast give committed, spirited, admirable performances, with Mirja Mane absolutely standing out most once Birgit enters the narrative.
Between Viljo Hela and Kaarlo Nuorvala's screenplay and Roland af Hällström's direction I believe the proceedings are marked with unfortunate brusque, forced heavy-handedness, and the film needed a more nuanced, finessed touch above all else for its best ideas to really be effective. Even at that, though, the results speak for themselves, and 'Noita palaa elämään' is stronger than not despite its flaws. To that point, though, the more one stops to think about it, those flaws are considerable and they stack up. I repeat myself, but we must contend with swift pacing, and brusque and forced writing and direction. It also comes across as struggling with an uneven tone, and all this is to say nothing of the title's use of a storytelling trope that I despise. There actually is a lot to like here, but the viewing experience is an imperfect one, and one that is certainly weighed down by its issues. When all is said and done I do think it's worth watching, and there's no doubt in my mind that it stands taller than many of its contemporaries from anywhere around the globe. One should just be aware in general terms of what they're getting into, and even for all the strength and value this bears it may not be the movie to change the minds of those who have a hard time engaging with mid-century horror. Watch 'Noita palaa elämään,' by all means, and I'm glad for those who enjoy it still more; I can only repeat that I liked it, too. Only, even as I appreciate everything that went into it, and look forward to finding more early Finnish horror, I don't expect I'll ever be in a rush to watch this one again.
One will certainly observe that this is a saga as much of superstition, misperception and misunderstanding, coincidence, and pure ignorance as it is one of black magic, dark powers, and resurrection. Despite the tenor of the production there is a well-written, deserving story underneath the frivolities, one of obsession and madness, and one of what a person might bring out in those around them under the right circumstances as much as any discrete activity. It all comes across as a bit of a grab bag, truthfully, and there are unquestionably some facets of the writing that probably should have been left out, or at least significantly rewritten, and others that needed to be tightened. Yet for whatever one might say about the details of the writing and direction, broadly speaking the feature is very well made all around, with an overall compelling and imaginative narrative not least. (After all, if not for that, why would we continue watching?) Those stunts and effects that are employed come off great, and the editing is sharp. Esko Töyri's is wonderfully crisp and vivid, presenting in rich detail all that there is to see, and the photography is genuinely better than one can say of some modern flicks. The filming locations and sets are gorgeous; the costume design, hair, and makeup are all so lovely. The cast give committed, spirited, admirable performances, with Mirja Mane absolutely standing out most once Birgit enters the narrative.
Between Viljo Hela and Kaarlo Nuorvala's screenplay and Roland af Hällström's direction I believe the proceedings are marked with unfortunate brusque, forced heavy-handedness, and the film needed a more nuanced, finessed touch above all else for its best ideas to really be effective. Even at that, though, the results speak for themselves, and 'Noita palaa elämään' is stronger than not despite its flaws. To that point, though, the more one stops to think about it, those flaws are considerable and they stack up. I repeat myself, but we must contend with swift pacing, and brusque and forced writing and direction. It also comes across as struggling with an uneven tone, and all this is to say nothing of the title's use of a storytelling trope that I despise. There actually is a lot to like here, but the viewing experience is an imperfect one, and one that is certainly weighed down by its issues. When all is said and done I do think it's worth watching, and there's no doubt in my mind that it stands taller than many of its contemporaries from anywhere around the globe. One should just be aware in general terms of what they're getting into, and even for all the strength and value this bears it may not be the movie to change the minds of those who have a hard time engaging with mid-century horror. Watch 'Noita palaa elämään,' by all means, and I'm glad for those who enjoy it still more; I can only repeat that I liked it, too. Only, even as I appreciate everything that went into it, and look forward to finding more early Finnish horror, I don't expect I'll ever be in a rush to watch this one again.