Häxan (1922)

User Rating:

7.8/10   

Director:

Benjamin Christensen

Writer:

Benjamin Christensen (writer)

Release Date:

27 May 1929 (USA)

Genre:

Horror

Tagline:

Benjamin Christensens stora film.

Plot:

A documentary about the history of witchcraft, told in a variety of styles, from illustrated slideshow...

Plot Keywords:

Witchcraft | Semi Documentary | Inquisition | Misogyny | Surrealism

Cast

Maren Pedersen	...	Heksen / The Witch
Clara Pontoppidan	...	Nonne / Nun
Elith Pio	...	Heksedommer / Witch Judge (The Young Monk)
Oscar Stribolt	...	Graabroder / Doctor (The Fat Monk)
Tora Teje	...	En hysterisk kvinde / Modern Hysteric (The Kelptomaniac)
John Andersen	...	Chief Inquisitor (as Johs Andersen)
Benjamin Christensen	...	Djævlen / The Devil
Poul Reumert	...	Juveler / Jeweler
Karen Winther	...	Anna
Kate Fabian	...	Gammel jomfru / Old Maid
Else Vermehren	...	Nonne / Nun
Astrid Holm	...	Anna
Johannes Andersen	...	Heksedommer / Witch Judge
Gerda Madsen	...	Nonne / Nun
Aage Hertel	...	Heksedommer / Witch Judge

Also Known As:

Häxan: Witchcraft Through the Ages (USA) (DVD box title)
Heksen (Denmark)
The Witches (USA)
Witchcraft Through the Ages (International: English title) (short version)
Czarownice (Poland) [pl]
Die Hexe (Germany) [de]
Häxan - A Feitiçaria Através dos Tempos (Brazil) [pt]
Hexen (Germany) [de]
I mageia mesa apo tous aiones (Greece) [el]
La brujería a través de los tiempos (Spain) [es]
La sorcellerie à travers les ages (France) [fr]
La stregoneria attraverso i secoli (Italy) [it]
Noita (Finland) [fi]
O Haxan (Norway) [no]

Runtime:

Sweden:87 min | USA:77 min (1968 re-release) | 104 min (DVD version)

Country:

Denmark | Sweden

Color:

Black and White (Sepiatone)

Aspect Ratio:

1.33 : 1

Sound Mix:

Mono | Silent

Certification:

UK:15 (1994) | UK:X (1968) | Canada:PG (Ontario) | Canada:G (Quebec)

Filming Locations:

Copenhagen, Denmark

Company:

Aljosha Production Company

Trivia:

Maria, the weaver (one of the persecuted witches) was played by Maren Pedersen, whom Christensen allegedly discovered while she was selling flowers on a street corner. Pedersen claimed that she was the first Red Cross nurse in Denmark. During the shoot, Pedersen reportedly turned to Christensen and said, "The Devil is real. I have seen him sitting at my bedside." Christensen was so struck by this confession of modern demonic activity (or at least the belief in modern demonic activity) that he incorporated this anecdote into the film itself.

Goofs:

Revealing mistakes: The skeletal horse-like creature wandering around during the sabbath is clearly being moved about by a couple of stage hands, hidden under the blanket that covers it's "body". The feet of the crew member at the front of the monster are visible in one shot.

Movie Connections:

Edited into Scream Greats, Vol. 2: Satanism and Witchcraft (1986)

A Visually Striking, Thought-Provoking Feature

The striking visuals would in themselves be sufficient reason to watch "Häxan", but in addition it is a thought-provoking feature that combines dark humor, some occasional chilling moments, and perceptive commentary on human nature. It's an unusual package and an unusual feature, and there aren't many films quite like it.

Simply on the surface, the series of unusual visuals and believable recreations of bygone eras would make for interesting viewing. Benjamin Christensen added a strong dose of the macabre to practically every scene, even in some of the smaller details that are only noticeable upon repeat viewings. Some of it is fascinating, some of it unsettling, all of it interesting.

But there is much more to "Häxan" than a mere collection of grotesque images and vignettes. Towards the end, in particular, the commentary becomes quite pointed. It is quite easy for anyone - film-maker, writer, commentator - to criticize and condemn the beliefs and practices of the Middle Ages or of any other long past era. But it is far more of a challenge to, as Christensen has done here, point out the sometimes devastating parallels to one's own era. It is always such a comforting fiction to believe that we are so much more enlightened than past generations have been, and yet it is rarely if ever true.

Christensen aptly illustrates the point that the inability to deal with the odd, the eccentric, and the unusual in our fellow beings is a perennial failing of humanity. Each generation simply devises its own means of stigmatizing and punishing those who cannot conform. (Nor is our own generation markedly better than was Christensen's.) This feature can certainly be viewed (either in the original silent version, or in the 1960s version with some spoken narration) for entertainment value alone. But it is even more pertinent in its observations on human nature. It's an often unsettling movie, with some images that might be bit too uncomfortable for some viewers. But for all that, it's an unusual and worthwhile viewing experience.