Review of Häxan (1922) by Matthew B — 18 Nov 2007

Benjamin Christensen's rather wry look into one of the seediest periods of human history is certainly a must-see for those who cringe at the sound of the sanctimonious names Augustine and Aquinas; furthermore, it is an enduring testament to the power of the documentary to inform and provoke.

Christensen cleverly traces the swelling of superstitious beliefs throughout history and the conversion of malignant spirits into devilish manifestations during the Middle Ages; his reproduction of Walpurgisnacht (complete with spectral images of hags whizzing through the night on broomsticks and pitchforks), his depiction of (groupthink) possessed nuns, and his exploration of the torture philosophy of the Inquisition are all brilliantly executed vignettes.

Furthermore, the current Criterion Collection release has restored the original 1922 theatrical version, as well as the 1968 re-cropping with Daniel Humair's eclectic and ironically atmospheric jazz score (helmed by violinist Jean-Luc Ponty) and William S.

Burroughs' bizarre narration. (This is an exceptional embellishment; Burroughs' southern drawl gives his dramatic reading the sound of an incensed sermon.) A delightfully bizarre, macabre work - one of the great horror films of the early twentieth century - frightening not so much through its depiction of Satan and his imps but rather for its commentary on the dangers of human stupidity and religious fallacies.