The Witch (1952) User Reviews

Rare Finnish 'horror'

[ilkkajaa · 7/10 · 15 July 2008]

Made after the Second World War, this film, which would translate to English as 'The Witch returns to life', shows the lack of funding so common in the post-war era in Finland. But yet, to keep people's humor up, the film industry did everything to ease the living of the poor households. The 'horror' part of this film might seem to us now more or less amusing.

The seemingly light subject of the film has underlying social issues: The Second World War had ended just barely seven years ago. The heavy war indemnities forced Finnish industry to boost up its productivity. The agricultural Finland was moving faster and faster towards city-life. Women's rights were still in the developing stage. Especially in the countryside and farms the women were the ones to take care of the household while the men were busy out in the fields to secure the year's crop. 'Unconventially' behaving female was prone to draw negative attention - especially if she was young and attractive. The villager's moods could have easily turned to witch hunt-like persecution.

Mika Waltari (September 19, 1908 – August 26, 1979) is one of the best known writers of Finland. His works have been translated to many languages all over the world. The most famous book is 'Sinuhe - the Egyptian', which made the Bestsellers list in many countries and is translated to 40 languages. 'The Egyptian' - a Hollywood movie was made according to 'Sinuhe' in 1954 (Director Michael Curtiz). The theater play 'Noita palaa elämään' (1947) is one of his 26 plays and was made for film in 1952 - the year Helsinki had the Summer Olympic Games. Altogether 33 books of Waltari have been filmed.

Uneven and flawed, but well made and more worthwhile than not

[I_Ailurophile · 7/10 · 31 October 2023]

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.

The Witch Returns to Life

[EdgarST · 7/10 · 29 April 2024]

Despite its too many sudden dramatic turns, this is a fascinating tale based on a play written by Finnish playwright Mika Waltari. However, the beginning reminded me of the first part of Mario Bava's film, "La maschera del demonio" (1960), when a scientist frees a witch by entering a crypt, breaking the cross that immobilizes her and accidentally giving her his own blood, a passage that is not contained in "Viy", the tale by Nikolai Gogol that inspired Bava's screenwriters.

In «The Witch Returns to Life», a Finnish scientist extracts a stake from the intact body of a witch buried in a swamp 300 years ago, and what follows is a wild tale about the duel between the flesh and the spirit, a classic theme that has inspired many great dramas, in search of catharsis. What lies beneath the story is the oppressive relationship between peasants and landowners, the same that caused a young girl's tragedy, accused of practicing witchcraft.

However, the treatment is often that of an erotic comedy, in which the sexual excitement of all characters predominates. Ultimately, it is not a titillating concession from the writers, but an indicator of what is really happening and what is revealed in the end. Recommended, but keep in mind that you are not going to see the typical witch movie of archaic inspirations (and aspirations).

Erotic, exotic, powerful ... but not spooky!

[F Gwynplaine MacIntyre · 9/10 · 30 March 2006]

It's intriguing that so many diverse cultures have independently developed legends of the witch: a supernatural female, frequently erotic, with powers usually devoted to evil. Most peasant cultures are nominally ruled by men, but the two great mysteries of life -- birth and death -- are controlled by women. A woman gives birth, aided by midwives, in the absence of men. Women prepare a corpse for its journey to the afterworld. It may well be that the power of the witch is merely male fear of women's secrets, women's wisdom, women's sexuality.

'Noita palaa elämään', which I translate (probably incorrectly) as 'The Witch Must Burn', is a fascinating Finnish version of the witch legend. I was surprised that this film is adapted from a stage play, as it features clever use of multiple locations and exteriors. There's nothing stage-bound here.

Hannu and his pretty blonde wife Greta are young archaeologists excavating a grave on the estate of Baron Hallberg. (I cringed at their excavation technique, which involves removing earth as rapidly as possible, in large quantities.) They seem to be working under the patronage of the baron's son Veikko, rather than the baron himself. One of the diggers uncovers the grave of a witch who was buried 300 years ago at the behest of one of the baron's ancestors. The archaeologists remove the witch's remains, including the surviving scraps of her garments and a leather pouch. Working from these scraps, Greta tries to reconstruct the witch's original garments.

Soon, the local peasants find a naked woman in the grave! Mirja Mane gives an astonishing performance as Birgit, the foundling. She dances naked through the Finnish countryside, her limbs contorting at weird angles and her long dark Betty Page hairstyle flying seductively. The peasants are scandalised. (One of the peasants looks amazingly like Rondo Hatton; another one resembles Jane Darwell.) Birgit is welcomed into the baron's castle by Veikko, Hannu and Kauko (a comic-relief portrait painter), and soon she's wearing the witch's dirndl made by Greta.

SPOILERS COMING. There are suspicions that the erotic young Birgit is the ancient witch reborn, but at first these rumours seem to be superstitious misogyny: all of the 'supernatural' acts manifested by Birgit's arrival could be explained rationally. Gradually, though, as she seduces Hannu and Veikko (while causing Greta to begin an affair with Kauko), it becomes clear that Birgit indeed has supernatural powers. The climax of the film is powerful, raw, elemental and erotic ... but not scary. This film has many good points, but it simply isn't eerie enough to be a horror film.

Despite an obtrusive music track, I was deeply impressed with the photography and editing in this film. There are a couple of bad cuts, but several other cuts are made very intelligently (including one reminiscent of Hitchcock's 'Rope'), and an unusual montage sequence without any dissolves. I was especially impressed by two jump cuts when Birgit causes objects to vanish: these jump cuts were filmed outdoors, in daylight against a formation of cumulus clouds ... so the director had to risk that the sun and the clouds might change position between the two camera set-ups either side of the cut. I can't recall that 'Bewitched' or 'I Dream of Jeannie' ever had the guts to do an open-air exterior jump cut. Throughout this film, the Finnish locations emphasise the alien and exotic aspects of the story.

The peasants and servants, alas, are mere stock figures, perhaps more laughable than the filmmakers intended. But all of the primary actors in this film give first-rate performances. As Greta, Hillevi Lagerstam is sexy and flirtatious without ever becoming implausible. In the lead role, Mirja Mane gives an astonishingly physical and erotic performance, reminding me of Hedy Lamarr's famous nude scene in 'Ekstase'.

I strongly recommend 'Noita palaa elämään' as an efficient (and erotic) example of low-budget film-making. The story, direction, editing and performances are excellent. However, if you're looking for a spooky horror film, look elsewhere. This movie, for all its powerful narrative, is NOT scary ... unless you're one of those people who think that the female form, in its naked glory, is something to be afraid of. I'll rate this excellent movie 9 out of 10.

voluptuous seductress who will kiss and bite and disrobe at will

[christopher-underwood · 8/10 · 3 February 2016]

I enjoyed this a lot. Not quite what I expected, less English Gothic, more Scandinavian menace. Rather creepy due to the rather unnerving but beguiling performance from Mirja Mane as the 'witch'. Naked or almost naked throughout (and this is 1952!) she completely dominates the screen and is only matched by those big skies above the sinister swamps. At first things seem a little stilted with characters moving almost as if in a silent movie and the dialogue takes some getting used to (although that may be the new translation) but once the naked bundle of Ms Mane is carried from her grave things really bubble. The women hate her and the men are totally beguiled or should I say bewitched! Much reference to the beast in man and all women being witches alluding as much to the then post war state of Finnish sensibilities as to any philosophical insight. Also much reference to dream and nightmare allowing for some measure of interpretation as we witness the men going crazy over the voluptuous seductress who will kiss and bite and disrobe at will and the women who get crazy at their men folk. A delight then, but not without a certain edge.

Naked Finnish witch.

[HumanoidOfFlesh · 8/10 · 26 February 2015]

"The Witch" directed by Roland af Hällstrom is based on Mika Waltari's 1947 play of the same name.I found this black and white Finnish horror movie about raven-haired witch named Birgit Suomaa engrossing and fascinating.Birgit was found naked by archaeologist Hannu in the swampy grave.Hannu takes her back to the mansion owned by wealthy Baron Hallberg.Soon Birgit begins to seduce all of the men in the mansion.Surprisingly moody early 50's Finnish witchcraft horror with lovely Mirja Mane playing the witch.This stunningly beautiful young actress provides plenty of nudity.It's a crying shame that her acing career was ended fairly quickly.8 snakes out of 10.

"But the only wolves you'll find now are in politics and business."

[morrison-dylan-fan · 8/10 · 2 June 2019]

Hitting the 14th year of having creating my IMDb account on the 27th of May,I decided to celebrate by watching one of the films fellow IMDber melvelvit-1 has very kindly sent me.Being in a Horror mood, the outline sounded so intriguing that I got set to witness the witch rising from the mud.

View on the film:

Taking a traditional Horror set-up of a supernatural being possibly coming back from the dead to terrify the locals who killed them centuries ago, co-writer/(with Kaarlo Nuorvala) director Roland af Hällström twists this into a quirky, humorous tone,where instead of being horrified, the locals largely open their arms to the suspected witch, with some soon developing romantic feelings. Although the ending "message" (high lighting the still visible scars of WWII) is delivered too bluntly by a character looking down the camera, the writers make up for it in their adaptation of this 1945 play, (which explored themes of scapegoats and persecutions ) by keeping the rest of the dialogue flowing with curiosity,not only of the alleged witch, but by the battle of the sexes horror bubbling underneath the surface, as the women in the town become weighed down by a suspicious mind-set,and all the men become transfixed by this mysterious woman.

Passing away at just 44 in 1974 after a short illness, Mirja Mane gives an utterly mesmerising turn as Birgit Suomaa/ "The Witch." Playing on the ambiguity and spending most of her screen time naked, Sumomaa unwinds experimental dance moves giving Suomaa a supernatural appearance, neatly balanced by Mane holding Suomaa in a wide-eyed enticing state when welcomed to the home of the locals. Set against the mountains of Finland, director Hallstrom & cinematographer Esko Töyri brew an imposing, off-beat Gothic atmosphere of elegant shots following each man falling under her "spell" in their homes, which rise up to hauntingly stark wide-shots of the muddy wildness from which has emerged a bewitching figure.

A delight

[xwagner-26993 · 9/10 · 14 April 2021]

Spooky, funny, well-told and well-acted. The brief nudity adds very little IMHO. Overall a delightful and unique movie with wonderful characters. This is a real favorite of mine. Highly recommended!

Truly frightening and powerful witchcraft

[matti_kaki · 10/10 · 8 August 2014]

I was 14 yrs in 1967 when I saw this first time on TV and the movie was just terrifying and I was really frightened. All I remember was the foggy swamp, impassioned music and horrified people talking about some awful witch who was buried there.

Mirjami Mane was so powerful and crazy that she run every men to craziness. The critics didn't see her wild playfulness but thought that her acting was just helpless. In my mind she acts exactly like a girl who is not used to live attached to the present day but has been some kind of loner living somewhere for maybe hundreds of years.

She is just so crazy and wild that the people don't understand her and men just fell into the snares of this unexplained witch. There are more and more evidences that she really is a witch who was buried to the swamp three hundred years ago.

Also cinematography and art decorations are marvelous and they both received "Jussi" trophy (Finnish counterpart for Oscar).

A "morality tale" cliché that reely works

[melvelvit-1 · 8/10 · 9 September 2015]

While excavating the bog on a baronial estate, workmen unearth the grave of a witch buried alive 300 years before. That night, a naked young woman is found unconscious in the grave and brought back to the baron's mansion where she proceeds to tear the village apart, inspiring unbridled lust in the men and hatred in the women...

It's a morality tale to be sure (very much like Luis Buñuel's SUSANA in that respect) and the "Woman In The Window" twist ending is something we've all seen before countless times but in this case it reely works. The director makes the best of a low budget and some scenes are startling in their wintry beauty, making the nudity "chilling" to say the least.

A Finnish horror oldie, with something (someone) extra!

[punishmentpark · 8/10 · 24 June 2015]

Elsewhere in a review on IMDb I read that this film was based on a play - not at all to my surprise. There are loads of dialogues which make it hard to follow at times, because I don't speak Finnish and there was a lot of (subtitle) reading to do. But the dialogues aren't the most important thing here; they become chaotic at times, as much as the characters seem to be talking in circles (mostly horny talk plus arguments for and against science and old wives' tales). Then there's the use of the old 'it was all a dream'-trick in the last part, which only really works because the magical horror part can (finally) get going from there.

But what's most attractive about this oldie horror, is of course 'Finnish Bööberellå': Mirja Mane, who plays the 'witch'. The full frontal nudity (well, no groin area up close) is refreshing to see in such an old horror; it is appropriate and quite tasteful. I'd never heard of her before, but she may well have become a horror icon in Finland, and with more luck, in the world, but according to IMDb she only did five films, and she died at the tragic age of forty-four after a short period of (unknown) illness.

So all in all, 'Noita palaa elämään' is mostly a more than decent Finnish answer to many of the usual American and English old horror movies, but with Mirja Mane as a considerable extra.

A small 8 out of 10.