Häxan

Plot

Benjamin Christensen's groundbreaking film 'Häxan' presents a seven-part documentary-style examination of witchcraft throughout history, beginning with a scholarly discussion of demonology and medieval beliefs about Satan. The film then transitions into dramatic reenactments depicting the persecution of alleged witches, including graphic scenes of torture, confessions extracted under duress, and elaborate depictions of witches' sabbaths. Christensen draws parallels between the 'hysteria' attributed to witches in the Middle Ages and contemporary psychiatric conditions, suggesting that many accused witches were suffering from mental illness rather than practicing actual witchcraft. The film culminates in a sequence where Christensen himself appears as a modern devil, suggesting that superstition and persecution continue in different forms in the modern era. Throughout, the film balances serious documentary intent with shocking imagery and moments of dark humor, creating a unique hybrid of education and entertainment.

Historical Background

'Häxan' emerged in the aftermath of World War I, a period of profound social and intellectual upheaval in Europe. The 1920s saw growing interest in psychoanalysis and new scientific approaches to understanding human behavior, with figures like Freud and Jung gaining prominence. Christensen's film reflects this shift from religious to scientific explanations for phenomena previously attributed to supernatural forces. The film also coincided with the golden age of Scandinavian cinema, when directors like Victor Sjöström and Mauritz Stiller were gaining international recognition. Denmark and Sweden, though neutral during WWI, had experienced the war's economic and social disruptions, leading to questioning of traditional authority and institutions. The film's critical stance toward religious persecution and institutional power resonated with post-war skepticism about established institutions. Additionally, the early 1920s saw renewed interest in occultism and spiritualism across Europe, making the subject of witchcraft particularly timely despite its historical setting.

Making Of

The making of 'Häxan' was an epic undertaking that nearly bankrupted its creator. Christensen, already an established director in Denmark, moved to Sweden to take advantage of the superior facilities at Svensk Filmindustri's Filmstaden studios. He spent months in research, consulting historical texts, visiting museums, and even studying medieval torture methods. The production design was extraordinarily detailed, with craftsmen building full-scale reproductions of medieval torture chambers, courtrooms, and witches' dens. Christensen demanded absolute authenticity from his cast, forcing them to wear heavy, historically accurate costumes even in the studio's summer heat. The special effects team pioneered new techniques, including complex superimposition for the flying sequences and innovative makeup effects that took hours to apply. Many scenes were shot multiple times for the Swedish and Danish versions, with Christensen sometimes playing different roles in each version. The production was so expensive that Christensen had to mortgage his personal property and take out loans to complete filming. Despite the financial strain, he refused to compromise his vision, insisting on the most elaborate sets and effects possible.

Visual Style

The cinematography of 'Häxan' was groundbreaking for its time, utilizing innovative techniques that would influence visual storytelling for decades. Cinematographer Johan Ankerstjerne employed dramatic lighting techniques that created stark contrasts between light and shadow, prefiguring the German Expressionist style. The film used extensive use of chiaroscuro effects, particularly in the witch trial and torture sequences, to create an atmosphere of dread and oppression. Ankerstjerne and Christensen pioneered the use of color tinting to enhance mood, with blue tones for night scenes, sepia for historical sequences, and red for scenes of violence and passion. The film's special effects sequences, including the famous flying witches, utilized complex multiple exposures and matte paintings that were remarkably sophisticated for 1922. The camera work was unusually dynamic for the period, with moving shots and unusual angles that added to the film's unsettling atmosphere. The close-ups of actors' faces during torture scenes were particularly effective in conveying psychological horror. The cinematography also included documentary-style shots of historical artifacts and texts, creating a visual contrast between the scholarly and dramatic elements.

Innovations

'Häxan' was remarkably innovative in its technical achievements, pushing the boundaries of what was possible in early 1920s filmmaking. The film pioneered complex special effects including sophisticated superimposition techniques used for the flying sequences and demonic appearances. The makeup effects, particularly for the Devil and various demonic creatures, were extraordinarily elaborate for the time, requiring hours of application and featuring prosthetics that were revolutionary in their design. The film's production design included full-scale reproductions of medieval torture devices and architectural elements that were historically accurate and functional. Christensen and his team developed new techniques for creating supernatural effects, including the use of dry ice for smoke and mist, and innovative camera tricks for transformation sequences. The film's editing was also ahead of its time, seamlessly blending documentary footage with dramatic reenactments. The various versions of the film demonstrate early approaches to international film distribution, with different cuts prepared for different markets. The preservation and restoration work done on the film in the late 20th century also represents technical achievement in film conservation.

Music

As a silent film, 'Häxan' was originally accompanied by live musical performances that varied by theater and region. The original Swedish score was composed by Jules Sylvain and emphasized dramatic, orchestral arrangements that heightened the film's horror elements. Different theaters used different musical approaches, with some employing full orchestras while others used organ accompaniment. In 1968, the re-edited version 'Witchcraft Through the Ages' featured an avant-garde jazz score by Daniel Humair, which created a completely different viewing experience. In 2001, the Danish Film Institute commissioned a new score from film composer Frithjof Toksvig for the restored version of the film. More recently, various contemporary musicians and composers have created new scores for special screenings, including experimental electronic artists who emphasize the film's surreal and disturbing qualities. The variety of musical accompaniments over the years demonstrates the film's flexibility and continuing relevance to different artistic movements and sensibilities.

Memorable Scenes

• The extended witches' sabbath sequence, featuring elaborate costumes, demonic creatures, and surreal imagery that influenced horror cinema for decades
• The torture chamber scenes, which were so graphic and realistic that they caused audience members to faint during early screenings
• The opening documentary sequence with Christensen himself presenting historical artifacts and texts about witchcraft
• The transformation scene where a young woman morphs into various demonic forms using pioneering special effects
• The final sequence where Christensen appears as a modern Devil, suggesting that superstition and persecution continue in contemporary society
• The trial scene where accused witches are subjected to humiliating and degrading 'tests' to prove their guilt
• The flying sequence showing witches soaring to their sabbath, achieved through innovative camera techniques and special effects

What Critics Said

Initial critical reception was deeply divided, with many critics condemning the film as obscene or blasphemous while others praised its artistic merit and intellectual ambition. Swedish critics were particularly harsh, with some calling it 'a disgrace to Swedish cinema' and 'a vulgar spectacle'. Danish critics were more appreciative, recognizing Christensen's artistic vision and technical achievement. International critics, especially in Germany and France, were more positive, with many praising the film's bold visual style and intellectual depth. Over time, critical opinion has shifted dramatically in the film's favor. Modern critics now recognize 'Häxan' as a masterpiece of silent cinema, with the film consistently appearing on lists of greatest films ever made. Critics today appreciate its pioneering visual effects, its sophisticated blend of genres, and its surprisingly progressive social commentary. The film is now studied in film schools for its innovative techniques and its place in the development of both documentary and horror cinema.

What Audiences Thought

Contemporary audience reaction was as divided as critical response. In Scandinavia, many viewers were shocked by the film's graphic content, including nudity, torture scenes, and depictions of satanic rituals. Some audience members reportedly fainted during screening of the more intense sequences. Church groups organized protests against the film in several cities. However, the film also attracted curious audiences drawn to its scandalous reputation. In international markets, particularly in more cosmopolitan cities like Berlin and Paris, audiences were more receptive, viewing the film as sophisticated European art cinema. Over the decades, 'Häxan' has developed a cult following among horror enthusiasts and film scholars. Modern audiences at revival screenings and film festivals generally respond enthusiastically to the film's audacious visual style and dark humor. The film has found new life through home video and streaming platforms, introducing it to younger audiences who appreciate its historical significance and still-shocking imagery.

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